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The article defines the exemplum as an intertext in homiletic literature of various origins. The genre, modelled on the dichotomy of redemption (motives of virtue) and damnation (motives of sin), served the didactic function. Basic source texts for exempla were biblical and classical (or pseudo-classical) texts, patristic texts, religious and secular chronicles, various legends and other historiographic treatises, and books of emblems (the last of these have elicited least scholarly attention). However, other texts, less often associated with exempla, also served as their sources. These include such mediaeval and early modern period texts as the Golden Legend and the writings of Laurentius Surius (for exempla of the legend type) or (in postils) various partial legends (Vitae) – depending on which saint the sermon was devoted to. The study of exempla in early modern literature also encompasses such issues as geographical and temporal variation of the genre (period terminology), their literary value, secularisation (fairy tales, peddlers’ songs), and their permeation into other genres.

The article defines the exemplum as an intertext in homiletic literature of various origins. The genre, modelled on the dichotomy of redemption (motives of virtue) and damnation (motives of sin), served the didactic function. Basic source texts for exempla were biblical and classical (or pseudo-classical) texts, patristic texts, religious and secular chronicles, various legends and other historiographic treatises, and books of emblems (the last of these have elicited least scholarly attention). However, other texts, less often associated with exempla, also served as their sources. These include such mediaeval and early modern period texts as the Golden Legend and the writings of Laurentius Surius (for exempla of the legend type) or (in postils) various partial legends (Vitae) – depending on which saint the sermon was devoted to. The study of exempla in early modern literature also encompasses such issues as geographical and temporal variation of the genre (period terminology), their literary value, secularisation (fairy tales, peddlers’ songs), and their permeation into other genres.

Piccolomini’s pedagogical treatise De liberorum educatione (1450) is typical of the humanist practices and ways of writing. On the contrary, the Historia de duobus amantibus, a love fiction written in latin, introduces two young people who seem to embody the humanist culture by their eloquence and their knowledge of classics. But by paying attention to the narration and the characters’ rhetoric, the paper focuses on Piccolomini’s irony against the humanist idea of Antiquity as source of exemplarity for the modernity.

This article demonstrates how Paul’s self-presentation in Phil 1:12–26 serves as an important exemplum to the Christian community, whereby Paul, in contrast to those who “proclaim Christ out of selfish ambition” (Phil 1:17), values the Gospel, and therefore values Christ above all things. However, Paul’s synkrisis does not lead to self-boasting, but suggests that in regard to the Philippian community, “by his presence again […] their boast might abound in Christ Jesus because of him” (Phil 1:26). This sincerity guides us to focus this article on the function of Phil 1:12–26 in preparing the exemplum of Christ in Phil 2:6–11. In order to reach our desired result, it is necessarily important to underline keywords that are constantly repeated in Phil 1:12–26, such as χριστός, κυρίος, καταγγέλλω, and καύχημα, which serve as a hinge between the first three chapters of the letter to the Philippians, in addition to προσκοπή and παρρησία.

Around the year 1215, female mystics and their sacramental devotion were among orthodoxy's most sophisticated weapons in the fight against heresy. Holy women's claims to be in direct communication with God placed them in positions of unprecedented influence. Yet by the end of the Middle Ages female mystics were frequently mistrusted, derided, and in danger of their lives. The witch hunts were just around the corner. While studies of sanctity and heresy tend to be undertaken separately,Proving Womanbrings these two avenues of inquiry together by associating the downward trajectory of holy women with medieval society's progressive reliance on the inquisitional procedure. Inquisition was soon used for resolving most questions of proof. It was employed for distinguishing saints and heretics; it underwrote the new emphasis on confession in both sacramental and judicial spheres; and it heralded the reintroduction of torture as a mechanism for extracting proof through confession. As women were progressively subjected to this screening, they became ensnared in the interlocking web of proofs. No aspect of female spirituality remained untouched. Since inquisition determined the need for tangible proofs, it even may have fostered the kind of excruciating illnesses and extraordinary bodily changes associated with female spirituality. In turn, the physical suffering of holy women became tacit support for all kinds of earthly suffering, even validating temporal mechanisms of justice in their most aggressive forms. The widespread adoption of inquisitional mechanisms for assessing female spirituality eventuated in a growing confusion between the saintly and heretical and the ultimate criminalization of female religious expression.

This article addresses the topic of excerpts by focusing on modern excerpting practices used in the analysis of Greek myth. It examines the mythological exemplum about Melanion and Timon from Aristophanes’ Lysistrata within the context of Greek myth’s flexibility and potential for innovation. After discussing the innovative details of the exempla, I turn to the use of the Melanion excerpt by two prominent classicists, P. Vidal-Naquet and M. Detienne. This leads to some general remarks on the transmission of knowledge regarding mythological lore, as well as on our modern scholarly practices of excerpting passages out of their original context.

Within the genre range of Slovak Baroque literature there has appeared to be a less known genre called apologue. It happened in the work titled Apologorum moralium libri VI (Trnava, 1747, 1752) by Konštantín Halapi (1698 – 1752). Apologue can be translated as fable. Fable is also referred to in many titles of the texts in the collection. Fables appear in Slovak Baroque literature as parts of sermons fulfilling the function of exemplums as well as parts of manuscript almanacs of folk and semi-folk literature. In both cases the target reader was a simple individual. Halapi´s apologues are different in many ways; the Latin language and quantitative metre suggest that these apologues are meant for advanced readers, and are not used as exemplums. The author offers them as autonomous works of art. The paper offers a brief overview of the historical development of fable as a genre and apologue as a concept in the context of Ancient and neo-Latin literature. The analysis of Halapi´s collection, where the poet offers his own view of apologue as a genre, is used to examine how the genre was perceived in the context of the contemporary literature. Halapi highlights the didactic function of literature and the persuasive potential of aesthetically valuable allegorical short stories. He freely admits their unconcealed fictitiousness as the „invented things“ in the stories serve the truth and education.

Most poets and writers in Iranian culture have used a lot of \"exemplum\" as a rhetorical element, because exemplum regardless that to be based on a famous story or habit or to be simply a wise, well-meaning and well-worded sentence has great persuasive power. Hakim Abolqasem Ferdowsi, like other poets, expresses the exemplum inShahnameh in various occasions by awareness of a persuasive power that lies in a variety of exemplums, and he interprets it as \"storytelling\". In this paper, the quality of these \"storytelling\" has been examined through descriptive-analytical method. To do this, we first have introduced different meanings of the word \"storytelling\" in Shahnameh, and then, based on the couplets that this word has been used in them in the meaning of the expression of the exemplum, we have tried to show that Ferdowsi often uses of this persuasive strategy at the time of hidden or obvious inconsistency or dissonance of events of the story, or the speech, or the act, or the verdict of the characters with the vote of the exemplum and rhetorical speaker, and in most cases, the appearance of the exemplum is for this reason that a word, an event, an adventure, a decision, a condition or an opinion, a belief and the behavior way that is not acceptable to be changed, and its speaker identifies that if he sees fit, to be expressed in the form of an exemplum which is the result of collective wisdom of predecessors, will have a greater impact. Ferdowsi also pursues various purposes such as punishment, annulment, reverence; strengthen the spirit, and weakening the spirit of narrating these exemplums. Although the most of storytelling in Ferdowsi's Shahnameh is accompanied by the announcement of the speaker, and he states, aside from the exemplum, there are examples in which they narrating the exemplum is done without news. There are other examples that the wise word is quoted from the wise human and is the basis for decision making and practice. This wise word is in fact the same exemplum, and in terms of content and status of appearance, has no difference with the words that have been referred to as their being sample, and the only difference is that there is no mention of the phrase \"storytelling\" . The present paper, these mentioned results have been obtained by examining the story telling technique in Ferdowsi's Shahnameh; the results that have no history in the field of rhetorical researches of Shahnameh, and can be effective in identifying the art of this famous poet and the his poetry style.