Ecologies of Harm: Rhetorics of Violence in the United States examines violent spectacles and their quotidian manifestations in order to better understand violence’s cultural work and persistence. Starting with the supposition that violence is communicative andmeant to “send a message”—be it to deter, to scare, or to threaten—Megan Eatman goes one step further to argue that violence needs to be understood on a deeper level: as direct, structural, cultural, and constitutive across modes, a formulation that requires rethinking its rhetorical aims as less about conscious persuasion and more about the gradual shaping of public identity.
While Eatman looks to examples of violent spectacles to make her case (lynching, capital punishment, and torture in the War on Terror), it is in her analysis of more mundane responses to these forms of violence (congressional debates, court documents, visual art, and memorial performance) where the key to her argument lies—as she shows how circulating violence in these ways produces violent rhetorical ecologies that facilitate some modes of being while foreclosing others. Through this ecological approach, Ecologies of Harm offers a new understanding of the debates surrounding legacies of violence, examines how rhetoric and violence function together, and explores implications of their entanglement for antiviolence work.
Economies of Writing advances scholarship on political economies of writing and writing instruction, considering them in terms of course subject, pedagogy, technology, and social practice. Taking the "economic" as a necessary point of departure and contention for the field, the collection insists that writing concerns are inevitably participants in political markets in their consideration of forms of valuation, production, and circulation of knowledge with labor and with capital.
Approaching the economic as plural, contingent, and political, chapters explore complex forces shaping the production and valuation of literacies, languages, identities, and institutions and consider their implications for composition scholarship, teaching, administration, and public rhetorics. Chapters engage a range of issues, including knowledge transfer, cyberpublics, graduate writing courses, and internationalized web domains.
Economies of Writing challenges dominant ideologies of writing, writing skills, writing assessment, language, writing technology, and public rhetoric by revealing the complex and shifting valuations of writing practices as they circulate within and across different economies. The volume is a significant contribution to rhetoric and composition’s understanding of and ways to address its seemingly perennial unease about its own work.
Contributors: Anis Bawarshi, Deborah Brandt, Jenn Fishman, T. R. Johnson, Jay Jordan, Kacie Kiser, Steve Lamos, Donna LeCourt, Rebecca Lorimer Leonard, Samantha Looker, Katie Malcolm, Paul Kei Matsuda, Joan Mullin, Jason Peters, Christian J. Pulver, Kelly Ritter, Phyllis Mentzell Ryder, Tony Scott, Scott Wible, Yuching Jill Yang, James T. Zebroski
This first book-length study of rhetoric and environmental politics calls for an end to the present oversimplified conflict between economic and evolutionary progress and suggests instead a continuum embracing the full range of human views of nature.
The authors use a systematic analysis of well-known works of nonfiction literature (by such authors as Rachel Carson, Aldo Leopold, Barry Commoner, and Herman Daly) long neglected by literary, rhetorical, and cultural critics, as well as journalistic reports and stories, industry and activist polemics, government documents, textbooks, technical literature, and novels to show that rhetoric centered on the established dichotomy gives rise to ecospeak, which paralyzes instead of informing action.
From the end of Reconstruction through World War II, a network of public colleges for white women flourished throughout the South. Founded primarily as vocational colleges to educate women of modest economic means for life in the emerging “new” South, these schools soon transformed themselves into comprehensive liberal arts–industrial institutions, proving so popular that they became among the largest women’s colleges in the nation. In this illuminating volume, David Gold and Catherine L. Hobbs examine rhetorical education at all eight of these colleges, providing a better understanding of not only how women learned to read, write, and speak in American colleges but also how they used their education in their lives beyond college.
With a collective enrollment and impact rivaling that of the Seven Sisters, the schools examined in this study—Mississippi State College for Women (1884), Georgia State College for Women (1889), North Carolina College for Women (1891), Winthrop College in South Carolina (1891), Alabama College for Women (1896), Texas State College for Women (1901), Florida State College for Women (1905), and Oklahoma College for Women (1908)—served as important centers of women’s education in their states, together educating over a hundred thousand students before World War II and contributing to an emerging professional class of women in the South. After tracing the establishment and evolution of these institutions, Gold and Hobbs explore education in speech arts and public speaking at the colleges and discuss writing instruction, setting faculty and departmental goals and methods against larger institutional, professional, and cultural contexts. In addition to covering the various ways the public women’s colleges prepared women to succeed in available occupations, the authors also consider how women’s education in rhetoric and writing affected their career choices, the role of race at these schools, and the legacy of public women’s colleges in relation to the history of women’s education and contemporary challenges in the teaching of rhetoric and writing.
The experiences of students and educators at these institutions speak to important conversations among scholars in rhetoric, education, women’s studies, and history. By examining these previously unexplored but important institutional sites, Educating the New Southern Woman provides a richer and more complex history of women’s rhetorical education and experiences.
The personal computer has revolutionized communication, and digitized text has introduced a radically new medium of expression. Interactive, volatile, mixing word and image, the electronic word challenges our assumptions about the shape of culture itself.
This highly acclaimed collection of Richard Lanham's witty, provocative, and engaging essays surveys the effects of electronic text on the arts and letters. Lanham explores how electronic text fulfills the expressive agenda of twentieth-century visual art and music, revolutionizes the curriculum, democratizes the instruments of art, and poses anew the cultural accountability of humanism itself.
Persuading us with uncommon grace and power that the move from book to screen gives cause for optimism, not despair, Lanham proclaims that "electronic expression has come not to destroy the Western arts but to fulfill them."
The Electronic Word is also available as a Chicago Expanded Book for your Macintosh®. This hypertext edition allows readers to move freely through the text, marking "pages," annotating passages, searching words and phrases, and immediately accessing annotations, which have been enhanced for this edition. In a special prefatory essay, Lanham introduces the features of this electronic edition and gives a vividly applied critique of this dynamic new edition.
Direct, comprehensive, well organized, simple in statement, Elements of Rhetoric is in all respects well fitted to fulfill its assigned role as a textbook. The remarks on practical problems and the examples and analogies confirm contemporary reports that Whately was himself a talented and stimulating teacher.
The modern field of speech was born near the beginning of the twentieth century, some seventy years after Whately wrote. But influential leaders in the new field endorsed Whately’s judgments, and courses and textbooks in public address have remained strongly influenced by his ideas. Whately’s views on a number of major questions in rhetoric have proved sound and fruitful during many decades of practice, and his book remains one of the most influential works on the subject.
When Vladimir Nabokov was up for a chair in literature at Harvard, the linguist Roman Jakobson protested: “What’s next? Shall we appoint elephants to teach zoology?” That anecdote, with which D. G. Myers begins The Elephants Teach, perfectly frames the issues this book tackles.
Myers explores more than a century of debate over how writing should be taught and whether it can or should be taught in a classroom at all. Along the way, he incorporates insights from a host of poets and teachers, including Henry Wadsworth Longfellow, Ralph Waldo Emerson, Robert Frost, John Berryman, John Dewey, Lionel Trilling, Robert Lowell, Ezra Pound, and Saul Bellow. And from his exhaustive research, Myers extracts relevant background information on nineteenth-century educational theory; shifts in technology, publishing, and marketing; the growth of critical theory in this country; and the politics of higher education. While he shows how creative writing has become a machine for creating more creative writing programs, Myers also suggests that its history supplies a precedent for something different—a way for creativity and criticism, poetry and scholarship, to join together to produce not just writing programs but good writers.
Updated with fresh commentary on what’s happened to creative writing in the academy since the first edition was published ten years ago, The Elephants Teach will be indispensable for students and teachers of writing, literature, and literary history.
A lifetime of cinematic writing culminates in this breathtaking statement on film’s unique ability to move us
Cinema is commonly hailed as “the universal language,” but how does it communicate so effortlessly across cultural and linguistic borders? In The Eloquent Screen, influential film critic Gilberto Perez makes a capstone statement on the powerful ways in which film acts on our minds and senses.
Drawing on a lifetime’s worth of viewing and re-viewing, Perez invokes a dizzying array of masters past and present—including Chaplin, Ford, Kiarostami, Eisenstein, Malick, Mizoguchi, Haneke, Hitchcock, and Godard—to explore the transaction between filmmaker and audience. He begins by explaining how film fits into the rhetorical tradition of persuasion and argumentation. Next, Perez explores how film embodies the central tropes of rhetoric––metaphor, metonymy, allegory, and synecdoche––and concludes with a thrilling account of cinema’s spectacular capacity to create relationships of identification with its audiences.
Although there have been several attempts to develop a poetics of film, there has been no sustained attempt to set forth a rhetoric of film—one that bridges aesthetics and audience. Grasping that challenge, The Eloquent Screen shows how cinema, as the consummate contemporary art form, establishes a thoroughly modern rhetoric in which different points of view are brought into clear focus.
Embodied Literacies: Imageword and a Poetics of Teaching is a response to calls to enlarge the purview of literacy to include imagery in its many modalities and various facets. Kristie S. Fleckenstein asserts that all meaning, linguistic or otherwise, is a result of the transaction between image and word. She implements the concept of imageword—a mutually constitutive fusion of image and word—to reassess language arts education and promote a double vision of reading and writing. Utilizing an accessible fourfold structure, she then applies the concept to the classroom, reconfiguring what teachers do when they teach, how they teach, what they teach with, and how they teach ethically.
Fleckenstein does not discount the importance of text in the quest for literacy. Instead, she places the language arts classroom and teacher at the juncture of image and word to examine the ways imagery enables and disables the teaching of and the act of reading and writing. Learning results from the double play of language and image, she argues. Helping teachers and students dissolve the boundaries between text and image, the volume outlines how to see reading and writing as something more than words and language and to disestablish our definitions of literacy as wholly linguistic.
Embodied Literacies: Imageword and a Poetics of Teaching comes at a critical time in our cultural history. Echoing the opinion that postmodernity is a product of imagery rather than textuality, Fleckenstein argues that we must evolve new literacies when we live in a culture saturated by images on computer screens, televisions, even billboards. Decisively and clearly, she demonstrates the importance of incorporating imagery—which is inextricably linked to our psychological, social, and textual lives—into our epistemologies and literacy teaching.
The Embodied Playbook discovers a new approach to understanding student literacy in a surprising place: the university athletics department. Through analysis of a yearlong case study of the men’s basketball team at the University of North Georgia, J. Michael Rifenburg shows that a deeper and more refined understanding of how humans learn through physical action can help writing instructors reach a greater range of students.
Drawing from research on embodiment theory, the nature and function of background knowledge, jazz improvisation, and other unexpected domains, The Embodied Playbook examines a valuable but unexplored form of literacy: the form used by student-athletes when learning and using scripted plays. All students’ extracurricular prior knowledge is vital for the work they undertake in the classroom, and student-athletes understand the strengths and constraints of written text much as they understand the text of game plays: through embodying text and performing it in a competitive space. The book focuses on three questions: What are plays and what do they do? How do student-athletes learn plays? How can teachers of composition and rhetoric better connect with student-athletes?
The Embodied Playbook reveals the literacy of the body as a rich and untapped resource for writing instruction. Given the numbers of students who are involved in athletics, whether intramural, community-related, or extracurricular, Rifenburg’s conclusions hold important implications not only for how we define literacy but also for how writing programs can serve all of their students most effectively.
Presenting thirteen essays, editors James C. Wilson and Cynthia Lewiecki-Wilson unite the fields of disability studies and rhetoric to examine connections between disability, education, language, and cultural practices. Bringing together theoretical and analytical perspectives from rhetorical studies and disability studies, these essays extend both the field of rhetoric and the newer field of disability studies.
The contributors span a range of academic fields including English, education, history, and sociology. Several contributors are themselves disabled or have disabled family members. While some essays included in this volume analyze the ways that representations of disability construct identity and attitudes toward the disabled, other essays use disability as a critical modality to rethink economic theory, educational practices, and everyday interactions. Among the disabilities discussed within these contexts are various physical disabilities, mental illness, learning disabilities, deafness, blindness, and diseases such as multiple sclerosis and AIDS.
While events in the Middle East-North Africa region dominate world news, it is an area little understood by the rest of the world—not only historically, politically, and culturally but also within the discipline of Rhetoric and Composition and Second Language Writing. The editors and contributors to this collection share scholarship that addresses how writing programs and writing-across-the-curriculum initiatives—in the region and outside of it—are responding to the increasing globalization of higher education and contributing to international discussions about World Englishes and other language varieties as well as translingual approaches to writing and writing pedagogy.
Contributors: Samer Annous, James P. Austin, William DeGenaro, Rula Diab, Michele Eodice, Juheina Fakhreddine, Aneta Hayes, Tom Highley, Amy Hodges, Rima Iskandarani, Najla Jarkas, Holly Johnson, Brenda Kent, Malakeh Raif Khoury-Khayat, Nasser Mansour, Ryan T. Miller, Maureen O’Day Nicolas, Saman Hussein Omar, Silvia Pessoa, Mysti Rudd, Zane Siraj Sinno, Michael Telafici, Connie Kendall Theado, Martha Townsend, Hacer Hande Uysal, Margaret Willard-Traub
Much has been written about Ralph Waldo Emerson’s fundamental contributions to American literature and culture as an essayist, philosopher, lecturer, and poet. But despite wide agreement among literary and rhetorical scholars on the need for further study of Emerson as a rhetorical theorist, little has been published on the subject. This book fills that gap, reenvisioning Emerson’s work through his significant engagement with rhetorical theory in the course of his career and providing a more profound understanding of Emerson’s influence on American ideology.
Moving beyond dominant literary critical thinking, Thompson argues that for Emerson, rhetoric was both imaginative and nonsystematic. This book covers the influences of rhetoricians from a range of periods on Emerson’s model of rhetoric. Drawing on Emerson’s manuscript notes, journal entries, and some of his rarely discussed essays and lectures as well as his more famous works, the author bridges the divide between literary and rhetorical studies, expanding our understanding of this iconic nineteenth-century man of letters.
The End of Composition Studies
David W. Smit Southern Illinois University Press, 2004 Library of Congress PE1405.U6S64 2004 | Dewey Decimal 808.042071173
Setting forth an innovative new model for what it means to be a writing teacher in the era of writing across the curriculum, The End of Composition Studies urges a reconceptualization of graduate work in rhetoric and composition, systematically critiques the limitations of current pedagogical practices at the postsecondary level, and proposes a reorganization of all academic units.
David W. Smit calls into question two major assumptions of the field: that writing is a universal ability and that college-level writing is foundational to advanced learning. Instead, Smit holds, writing involves a wide range of knowledge and skill that cannot be learned solely in writing classes but must be acquired by immersion in various discourse communities in and out of academic settings.
The End of Composition Studies provides a compelling rhetoric and rationale for eliminating the field and reenvisioning the profession as truly interdisciplinary—a change that is necessary in order to fulfill the needs and demands of students, instructors, administrators, and our democratic society.
Rhetoric and ritual commemorating war has been a part of human culture for ages. In Enduring Legacy,W. Stuart Towns explores the crucial role of rhetoric and oratory in creating and propagating a “Lost Cause” public memory of the American South.
Enduring Legacy explores the vital place of ceremonial oratory in the oral tradition in the South. It analyses how rituals such as Confederate Memorial Day, Confederate veteran reunions, and dedication of Confederate monuments have contributed to creating and sustaining a Lost Cause paradigm for Southern identity. Towns studies in detail secessionist and Civil War speeches and how they laid the groundwork for future generations, including Southern responses to the civil rights movement, and beyond. The Lost Cause orators that came after the Civil War, Towns argues, helped to shape a lasting mythology of the brave Confederate martyr, and the Southern positions for why the Confederacy lost and who was to blame. Innumerable words were spent—in commemorative speeches, newspaper editorials, and statehouse oratory—condemning the evils of Reconstruction, redemption, reconciliation, and the new and future South. Towns concludes with an analysis of how Lost Cause myths still influence Southern and national perceptions of the region today, as evidenced in debates over the continued deployment of the Confederate flag and the popularity of Civil War re-enactments.
The Declaration of Independence is usually celebrated as a radical document that inspired revolution in the English colonies, in France, and elsewhere. In Enemyship, however, Jeremy Engels views the Declaration as a rhetorical strategy that outlined wildly effective arguments justifying revolution against a colonial authority—and then threatened political stability once independence was finally achieved. Enemyship examines what happened during the latter years of the Revolutionary War and in the immediate post-Revolutionary period, when the rhetorics and energies of revolution began to seem problematic to many wealthy and powerful Americans.
To mitigate this threat, says Engles, the founders of the United States deployed the rhetorics of what he calls "enemyship," calling upon Americans to unite in opposition to their shared national enemies.
What happened to the bold, kicky promise of writing instruction in the 1960s? The current conservative trend in composition is analyzed allegorically by Geoffrey Sirc in this book-length homage to Charles Deemer's 1967 article, in which the theories and practices of Happenings artists (multi-disciplinary performance pioneers) were used to invigorate college writing. Sirc takes up Deemer's inquiry, moving through the material and theoretical concerns of such pre- and post-Happenings influences as Duchamp and Pollock, situationists and punks, as well as many of the Happenings artists proper.
With this book, already a cult classic, began a neo-avant-garde for composition studies.
Winner of the Ross W. Winterowd Award for most outstanding book in composition theory.
To understand the history of "English," Ross Winterowd insists, one must understand how literary studies, composition-rhetoric studies, and influential textbooks interrelate. Stressing the interrelationship among these three forces, Winterowd presents a history of English studies in the university since the Enlightenment.
Winterowd’ s history is unique in three ways. First, it tells the whole story of English studies: it does not separate the history of literary studies from that of composition-rhetoric studies, nor can it if it is going to be an authentic history. Second, it traces the massive influence on English studies exerted by textbooks such as Adventures in Literature, Understanding Poetry, English in Action, and the Harbrace College Handbook. Finally, Winterowd himself is very much a part of the story, a partisan with more than forty years of service to the discipline, not simply a disinterested scholar searching for the truth.
After demonstrating that literary studies and literary scholars are products of Romantic epistemology and values, Winterowd further invites controversy by reinterpreting the Romantic legacy inherited by English departments. His reinterpretation of major literary figures and theory, too, invites discussion, possibly argument. And by directly contradicting current histories of composition-rhetoric that allow for no points of contact with literature, Winterowd intensifies the argument by explaining the development of composition-rhetoric from the standpoint of literature and literary theory.
The authors of Academic Writing for Graduate Students have written a book for the next level of second language writing. English in Today's Research World offers students a very high level of writing instruction, with a specific focus on the projects students undertake--such as dissertations and conference abstracts--at the end of their university work or as they begin careers in research or academia.
In addition to instruction on writing for publication, English in Today's Research World provides needed advice on applications, recommendations, and requests--types of communications that are particularly vulnerable to influences from national cultural expectations and conventions and that, therefore, place the NNS writer at increased disadvantage.
The text is both a reference manual and a course book, so that researchers can continue to use the book after they have completed their formal education. New ESL/EFL teachers can use English in Today's Research World as a reference book for themselves or as a teaching aid in the classroom.
Arguing for an oral theory of Reader Response Criticism, Steven B. Katz conducts a philosophical investigation into the possibility and desirability of teaching reading and writing as rhetorical music.
In the course of this investigation, Katz deals with New Physics, the sophists, Cicero, orality, epistemology, voice, writing, temporality, and sound. He demonstrates that Reader Response Criticism—as part of a new sophistic that has entered the mainstream of pedagogy and practice in our culture—parallels the philosophy of science engendered by the Copenhagen school of New Physics, which theoretically holds that knowledge of subatomic phenomena is probable, relative, contingent, and uncertain, thus requiring more nonformalistic, nonrationalistic methods in understanding and reconstructing it; Katz shows how the same methods are required in the study of affect in reading and writing. Katz also demonstrates that, like New Physics, Reader Response Criticism, in its commitment to interpretation as the primary function and goal of writing about literature, must remain somewhat committed to the formalistic, rationalistic epistemology it seeks to redress.
Basing his oral theory of Reader Response Criticism on notions of language as physical, sensuous, and musical and understanding reception as participatory performance rather that interpretation, Katz suggests a way to reconceptualize Reader Response Criticism. He accounts for "voice," "felt sense," "dissonance," and aesthetic response generally as it is created by the temporal, musical patterns of language, noting that the physical, musical dimension of language has been relatively neglected in contemporary movements in rhetoric, composition, and literature.
Thus, set against the relationship between literature and science, especially between Reader Response Criticism and the philosophy of science engendered by New Physics, Katz examines the sophistic and Ciceronian conceptions of rhetoric. He reinterprets Cicero’s rhetorical theory in light of recent revisionist scholarship on the sophists and reevaluates his assigned position in rhetorical history as neo-Aristotelian by focusing on his oral notions of style as epistemic music. In so doing, Katz offers a new interpretation of Cicero within the sophistic tradition.
Discussing the relationship between sophistic and Ciceronian conceptions of style as an oral, physical, nonrational, indirect form of knowledge and viewing philosophical conceptions of language as sensuous, temporal gestalten or "shapes" in consciousness, Katz suggests that response to and performance of the epistemic music of language can supplement analysis and interpretation in the teaching of reading and writing and can provide less formalistic, less rationalistic foundation for a reader response criticism as a new sophistic.
Eighteen essays by leading scholars in English, speech communication, education, and philosophy explore the vitality of the classical rhetorical tradition and its influence on both contemporary discourse studies and the teaching of writing.
Some of the essays investigate theoretical and historical issues. Others show the bearing of classical rhetoric on contemporary problems in composition, thus blending theory and practice. Common to the varied approaches and viewpoints expressed in this volume is one central theme: the 20th-century revival of rhetoric entails a recovery of the classical tradition, with its marriage of a rich and fully articulated theory with an equally efficacious practice. A preface demonstrates the contribution of Edward P. J.Corbett to the 20th-century revival, and a last chapter includes a bibliography of his works.
The Essential Wayne Booth
Wayne C. Booth University of Chicago Press, 2006 Library of Congress PN511.B56 2006 | Dewey Decimal 809
Wayne Booth wrote some of the most influential and engaging criticism of our time, most notably the 1961 classic The Rhetoric of Fiction, a book that transformed literary criticism and became the standard reference point for advanced discussions of how fiction works, how authors make novels accessible, and how readers re-create texts.
While Booth’s work was formative to the study of literature, his essential writings have never been collected in a single volume—until now. Selected by Walter Jost in collaboration with Booth himself, the texts anthologized here present a picture of this indispensable critic’s contributions to literary and rhetorical studies. The selections range from memorable readings of Macbeth, Jane Austen, George Eliot, and Henry James to engagements with Booth’s intellectual heroes, such as Richard McKeon and Mikhail Bakhtin. But rhetoric, Booth’s abiding concern as a critic and thinker, provides the organizing principle of the anthology. The Essential Wayne Booth illuminates the scope of Booth’s rhetorical inquiry: the entire range of resources that human beings share for producing effects on one another. Whether about metaphors for our friendship with books or the two cultures of science and religion, the texts collected here always return to the techniques and ethics of our ways of communicating with each other—that is, to rhetoric.
The Essential Wayne Booth is a capstone to Booth's long career and an eloquent reminder of the ways in which criticism can make us alive to the arts of writing, talking, and listening.
Despite its centrality to its field, there is no consensus regarding what rhetorical theory is and why it matters. The Ethical Fantasy of Rhetorical Theory presents a critical examination of rhetorical theory throughout history, in order to develop a unifying vision for the field. Demonstrating that theorists have always been skeptical of yet committed to "truth" (however fantastic), Ira Allen develops rigorous notions of truth and of a "troubled freedom" that spring from rhetoric’s depths. In a sweeping analysis from the sophists Aristotle, and Cicero through Kenneth Burke, Chaïm Perelman and Lucie Olbrechts-Tyceta, and contemporary scholars in English, communication, and rhetoric’s other disciplinary homes, Allen offers a novel definition of rhetorical theory: as the self-consciously ethical study of how humans and other symbolic animals negotiate constraints.
In The Ethics and Politics of Speech, Pat J. Gehrke provides an accessible yet intensive history of the speech communication discipline during the twentieth century. Drawing on several previously unpublished or unexamined sources—including essays, conference proceedings, and archival documents—Gehrke traces the evolution of communication studies and the dilemmas that often have faced academics in this field. In his examination, Gehrke not only provides fresh perspectives on old models of thinking; he reveals new methods for approaching future studies of ethical and political communication.
Gehrke begins his history with the first half of the twentieth century, discussing the development of a social psychology of speech and an ethics based on scientific principles, and showing the importance of democracy to teaching and scholarship at this time. He then investigates the shift toward philosophical—especially existential—ways of thinking about communication and ethics starting in the 1950s and continuing through the mid-1970s, a period associated with the rise of rhetoric in the discipline. In the chapters covering the last decades of the twentieth century, Gehrke demonstrates how the ethics and politics of communication were directed back onto the practices of scholarship within the discipline, examining the increased use of postmodern and poststructuralist theories, as well as the new trend toward writing original theory, rather than reinterpreting the past. In offering a thorough history of rhetoric studies, Gehrke sets the stage for new questions and arguments, ultimately emphasizing the deeply moral and political implications that by nature embed themselves in the field of communication.
More than simply a history of the discipline's major developments, The Ethics and Politics of Speech is an account of the philosophical and moral struggles that have faced communication scholars throughout the last century. As Gehrke explores the themes and movements within rhetoric and speech studies of the past, he also provides a better understanding of the powerful forces behind the forging of the field. In doing so, he reveals history’s potential to act as a vehicle for further academic innovation in the future.
For thousands of years, critics have attacked rhetoric and the actual practice of politics as unprincipled, insincere, and manipulative. In Ethics and the Orator, Gary A. Remer disagrees, offering the Ciceronian rhetorical tradition as a rejoinder. He argues that the Ciceronian tradition is based on practical or “rhetorical” politics, rather than on idealistic visions of a politics-that-never-was—a response that is ethically sound, if not altogether morally pure.
Remer’s study is distinct from other works on political morality in that it turns to Cicero, not Aristotle, as the progenitor of an ethical rhetorical perspective. Contrary to many, if not most, studies of Cicero since the mid-nineteenth century, which have either attacked him as morally indifferent or have only taken his persuasive ends seriously (setting his moral concerns to the side), Ethics and the Orator demonstrates how Cicero presents his ideal orator as exemplary not only in his ability to persuade, but in his capacity as an ethical person. Remer makes a compelling case that Ciceronian values—balancing the moral and the useful, prudential reasoning, and decorum—are not particular only to the philosopher himself, but are distinctive of a broader Ciceronian rhetorical tradition that runs through the history of Western political thought post-Cicero, including the writings of Quintilian, John of Salisbury, Justus Lipsius, Edmund Burke, the authors of The Federalist, and John Stuart Mill.
In The Ethics of Persuasion: Derrida’s Rhetorical Legacies, Brooke Rollins argues that some of the most forceful and utilitarian examples of persuasion involve significant ethical dimensions. Using the work of Jacques Derrida, she draws this ethical imperative out from a series of canonical rhetorical texts that have traditionally been understood as insistent or even guileful instances of persuasion. Her reconsideration of highly determined pieces by Gorgias, Lysias, Isocrates, and Plato encourages readers to inherit the rhetorical tradition differently, and it pinpoints the important rhetorical dimensions of Derrida’s own work.
Drawing on Derrida’s (non)definition of ethics and his pointed accounts of performativity, Rollins argues that this vital ethical component of many ancient theories, practices, and pedagogies of persuasion has been undertheorized for more than two millennia. Through deconstructive readings of some of these texts, she shows us that we are not simply sovereign beings who both wield and guard against linguistic techniques of rule. Our persuasive endeavors, rather, are made possible by an ethics—an always prior encounter with otherness that interrupts self-presence.
Amitava Kumar's Every Day I Write the Book is for academic writers what Annie Dillard's The Writing Life and Stephen King's On Writing are for creative writers. Alongside Kumar's interviews with an array of scholars whose distinct writing offers inspiring examples for students and academics alike, the book's pages are full of practical advice about everything from how to write criticism to making use of a kitchen timer. Communication, engagement, honesty: these are the aims and sources of good writing. Storytelling, attention to organization, solid work habits: these are its tools. Kumar's own voice is present in his essays about the writing process and in his perceptive and witty observations on the academic world. A writing manual as well as a manifesto, Every Day I Write the Book will interest and guide aspiring writers everywhere.
In Everyday Genres: Writing Assignments across the Disciplines, Mary Soliday calls on genre theory- which proposes that writing cannot be separated from social situation-to analyze the common assignments given to writing students in the college classroom, and to investigate how new writers and expert readers respond to a variety of types of coursework in different fields. This in-depth study of writing pedagogy looks at many challenges facing both instructors and students in college composition classes, and offers a thorough and refreshing exploration of writing experience, ability, and rhetorical situation.
Soliday provides an overview of the contemporary theory and research in Writing across the Curriculum programs, focusing specifically on the implementation of the Writing Fellows Program at the City College of New York. Drawing on her direct observations of colleagues and students at the school, she addresses the everyday challenges that novice writers face, such as developing an appropriate "stance" in one's writing, and the intricacies of choosing and developing content.
The volume then goes on to address some of the most pressing questions being asked by teachers of composition: To what extent can writing be separated from its situation? How can rhetorical expertise be shared across fields? And to what degree is writing ability local rather than general? Soliday argues that, while writing is closely connected to situation, general rhetorical principles can still be capably applied if those situations are known. The key to improving writing instruction, she maintains, is to construct contexts that expose writers to the social actions that genres perform for readers.
Supplementing the author's case study are six appendixes, complete with concrete examples and helpful teaching tools to establish effective classroom practices and exercises in Writing across the Curriculum programs. Packed with useful information and insight, Everyday Genres is an essential volume for both students and teachers seeking to expand their understanding of the nature of writing.
In a landmark collaboration, five co-authors develop a theme of ordinary disruptions ("the everyday") as a source of provocative learning moments that can liberate both student writers and writing center staff. At the same time, the authors parlay Etienne Wenger’s concept of "community of practice" into an ethos of a dynamic, learner-centered pedagogy that is especially well-suited to the peculiar teaching situation of the writing center. They push themselves and their field toward deeper, more significant research, more self-conscious teaching.
Thomas P. Miller defines college English studies as literacy studies and examines how it has evolved in tandem with broader developments in literacy and the literate. He maps out “four corners” of English departments: literature, language studies, teacher education, and writing studies. Miller identifies their development with broader changes in the technologies and economies of literacy that have redefined what students write and read, which careers they enter, and how literature represents their experiences and aspirations.
Miller locates the origins of college English studies in the colonial transition from a religious to an oratorical conception of literature. A belletristic model of literature emerged in the nineteenth century in response to the spread of the “penny” press and state-mandated schooling. Since literary studies became a common school subject, professors of literature have distanced themselves from teachers of literacy. In the Progressive era, that distinction came to structure scholarly organizations such as the MLA, while NCTE was established to develop more broadly based teacher coalitions. In the twentieth century New Criticism came to provide the operating assumptions for the rise of English departments, until those assumptions became critically overloaded with the crash of majors and jobs that began in 1970s and continues today.
For models that will help the discipline respond to such challenges, Miller looks to comprehensive departments of English that value studies of teaching, writing, and language as well as literature. According to Miller, departments in more broadly based institutions have the potential to redress the historical alienation of English departments from their institutional base in work with literacy. Such departments have a potentially quite expansive articulation apparatus. Many are engaged with writing at work in public life, with schools and public agencies, with access issues, and with media, ethnic, and cultural studies. With the privatization of higher education, such pragmatic engagements become vital to sustaining a civic vision of English studies and the humanities generally.
In Evolutionary Rhetoric, scholar Wendy Hayden provides a comprehensive examination of the relationship between scientific and feminist rhetorics in free-love feminism, studying the movement from its inception in the 1850s to its dark turn toward eugenics in the early 1900s. Hayden organizes her provocative study by scientific discipline—evolution, physiology, bacteriology, embryology, and heredity. Each chapter explores how free-love feminists adopted the evidence of that discipline in their arguments for increased sex education, women’s sexual rights, reproductive freedom, and the abolition of a marriage system that repressed the rights and the sexuality of women.
Hayden takes our conventional understanding of the relationship between nineteenth-century feminism and science and expands it. The author provides examples of the powerful words of free-love feminists to show exactly how these exceptional women used science as a rhetorical platform to promote feminist, and often radical, social reforms.
Considering why the free-love movement has not yet been studied, Hayden also discusses how the recovery of this movement may impact larger goals in the recovery of women’s rhetoric. This important and timely study of a long-forgotten movement adds to our understanding of the complexities of the history of feminism.
With the prevalence of smartphones, massive data storage, and search engines, we might think of today as the height of the information age. In reality, every era has faced its own challenges of storing, organizing, and accessing information. While they lacked digital devices, our ancestors, when faced with information overload, utilized some of the same techniques that underlie our modern interfaces: they visualized and spatialized data, tying it to the emotional and sensory spaces of memory, thereby turning their minds into a visual interface for accessing information.
In Excavating the Memory Palace, Seth David Long mines the history of Europe’s arts of memory to find the origins of today’s data visualizations, unearthing how ancient constructions of cognitive pathways paved the way for modern technological interfaces. Looking to techniques like the memory palace, he finds the ways that information has been tied to sensory and visual experience, turning raw data into lucid knowledge. From the icons of smart phone screens to massive network graphs, Long shows us the ancestry of the cyberscape and unveils the history of memory as a creative act.
Executing Democracy: Capital Punishment & the Making of America, 1683-1807 is the first volume of a rhetorical history of public debates about crime, violence, and capital punishment in America. This examination begins in 1683, when William Penn first struggled to govern the rowdy indentured servants of Philadelphia, and continues up until 1807, when the Federalists sought to impose law-and-order upon the New Republic.
This volume offers a lively historical overview of how crime, violence, and capital punishment influenced the settling of the New World, the American Revolution, and the frantic post-war political scrambling to establish norms that would govern the new republic.
By presenting a macro-historical overview, and by filling the arguments with voices from different political camps and communicative genres, Hartnett provides readers with fresh perspectives for understanding the centrality of public debates about capital punishment to the history of American democracy.
This eye-opening and well-researched companion to the first volume of Executing Democracy enters the death-penalty discussion during the debates of 1835 and 1843, when pro-death penalty Calvinist minister George Barrell Cheever faced off against abolitionist magazine editor John O’Sullivan. In contrast to the macro-historical overview presented in volume 1, volume 2 provides micro-historical case studies, using these debates as springboards into the discussion of the death penalty in America at large. Incorporating a wide range of sources, including political poems, newspaper editorials, and warring manifestos, this second volume highlights a variety of perspectives, thus demonstrating the centrality of public debates about crime, violence, and punishment to the history of American democracy. Hartnett’s insightful assessment bears witness to a complex national discussion about the political, metaphysical, and cultural significance of the death penalty.
From the outset, experimental writing has been viewed as a means to afford a more creative space for students to express individuality, underrepresented social realities, and criticisms of dominant socio-political discourses and their institutions. Yet, the recent trend toward multimedia texts has left many composition instructors with little basis from which to assess these new forms and to formulate pedagogies. In this original study, Patricia Suzanne Sullivan provides a critical history of experimental writing theory and its aesthetic foundations and demonstrates their application to current multimodal writing.
Sullivan unpacks the work of major scholars in composition and rhetoric and their theories on aesthetics, particularly avant-gardism. She also relates the dialectics that shape these aesthetics and sheds new light on both the positive and negative aspects of experimental writing and its attempts to redefine the writing disciplines. Additionally, she shows how current debates over the value of multimedia texts echo earlier arguments that pitted experimental writing against traditional models. Sullivan further articulates the ways that multimedia is and isn’t changing composition pedagogies, and provides insights into resolving these tensions.
Explanation Points is a curated collection of disciplinary knowledge and advice for publishing in rhetoric and composition. Covering a variety of topics in an approachable, conversational tone, the book demonstrates how writing faculty from diverse career trajectories and institutions produce, prepare, edit, revise, and publish scholarship.
Rhetoric and composition is a uniquely democratic field, made of a group of scholars who, rather than competing with one another, lift each other up and work together to move the field forward. This lively, engaging, story-anchored book offers advice from a range of authors—including emeritus faculty, prolific authors, and early career researchers. Organized by various stages in the writing and publishing process, Explanation Points presents the advice shared between colleagues, passed along from professor to student, or offered online in abbreviated tweets and updates.
The best advice book on writing and publishing in the field, Explanation Points is a useful resource for rhetoric and composition scholars including faculty, graduate students, and advanced undergraduate students; writing center administrators, staff, and consultants; graduate pratica and seminars; writing workshop classes; and editors, associate editors, assistant editors, and other academic journal staff.
Tim Amidon, Chris Anson, Nancy G. Barron, Ellen Barton, Michael Baumann, Steve Bernhardt, Kristine L. Blair, David Blakesley, Lynn Z. Bloom, Marcia Bost, James Brown, Amber Buck, Rebecca Burnett, Joyce Carter, Kate Comer, Janice Cools, Marilyn Cooper, Craig Cotich, Ellen Cushman, Gabriel Cutrufello, Courtney Danforth, Sid Dobrin, William Duffy, Norbert Elliot, Jessica Enoch, Doug Eyman, Michael Faris, Jenn Fishman, Linda Flower, Brenda Glasscot, Laura Gonzales, Jeffrey T. Grabill, Laurie Gries, Bump Halbritter, Joseph Harris, Byron Hawk, Douglas Hesse, Troy Hicks, Bruce Horner, Asao Inoue, Darin L. Jensen, Erin Jensen, Johndan Johnson-Eilola, Gesa E. Kirsch, Sarah Kornfield, Ashanka Kumari, Christina M. LaVecchia, Donna LeCourt, Barbara L’Eplattenier, Heather Lettner-Rust, Justin Lewis, Julie Lindquist, Tara Lockhart, Andrea Abernethy Lunsford, Katie Manthey, Lisa Mastrangelo, Ben McCorkle, Heidi McKee, Cruz Medina, Laura R. Micciche, Holly Middleton, Lilian Mina, Janine Morris, Joan Mullin, Kim Hensley Owens, Jason Palmeri, Mike Palmquist, Steve Parks, Juli Parrish, Staci Perryman-Clark, Mya Poe, Jacqueline Rhodes, Jeff Rice, Jim Ridolfo, Shirley K Rose, Stuart A. Selber, Jody Shipka, Naomi Silver, Ryan Skinnell, Trixie Long Smith, Kyle Stedman, Patrick Sullivan, Carrie Strand Tebeau, Christie Toth, John Trimbur, Chris Warnick, Kathleen Blake Yancey
Kelly Ritter and Paul Kei Matsuda have created an essential introduction to the field of composition studies for graduate students and instructors new to the study of writing. The book offers a careful exploration of this diverse field, focusing specifically on scholarship of writing and composing. Within this territory, the authors draw the boundaries broadly, to include allied sites of research such as professional and technical writing, writing across the curriculum programs, writing centers, and writing program administration. Importantly, they represent composition as a dynamic, eclectic field, influenced by factors both within the academy and without. The editors and their sixteen seasoned contributors have created a comprehensive and thoughtful exploration of composition studies as it stands in the early twenty-first century. Given the rapid growth of this field and the evolution of it research and pedagogical agendas over even the last ten years, this multi-vocal introduction is long overdue.
Exploring Options is designed to help student writers develop their knowledge and use of academic language to meet the demands of college- and university-level writing assignments. It draws on the research identifying lexical and grammatical patterns across academic contexts and provides authentic reading contexts for structured vocabulary learning. Recognizing that vocabulary choices in writing often require consideration of grammatical structure, Exploring Options focuses on specific kinds of lexico-grammatical decisions—that is, the ones involving the interaction between vocabulary and grammar--that students face in shaping, connecting, and restructuring their ideas. The book helps writers learn how to effectively use resources such as learner dictionaries, thesauruses, and concordancers to improve academic word knowledge.
Following a unit on using resources for vocabulary development, the contents are divided into three parts: Showing Relationships within Sentences, Connecting and Focusing across Sentences, and Qualifying Statements and Reporting Research. Part 1 focuses on verbs and modifiers that express increases and decreases, verbs and abstract nouns that describe change, connectors and verbs describing causal relationships, and parallel structures. Part 2 explores the words that help connect ideas and add cohesion. Part 3 discusses how to express degrees of certainty and accuracy and the use of reporting verbs.
Why do people obey the law? Law deters crime by specifying sanctions, and because people internalize its authority. But Richard McAdams says law also generates compliance through its expressive power to coordinate behavior (traffic laws) and inform beliefs (smoking bans)—that is, simply by what it says rather than what it sanctions.