Hard Sayings: The Rhetoric of Christian Orthodoxy in Late Modern Fiction by Thomas F. Haddox examines the work of six avowedly Christian writers of fiction in the period from World War II to the present. This period is often characterized in western societies by such catchphrases as “postmodernism” and “secularization,” with the frequent implication that orthodox belief in the dogmas of Christianity has become untenable among educated readers. How, then, do we account for the continued existence of writers of self-consciously literary fiction who attempt to persuade readers of the truth, desirability, and utility of the dogmas of Christianity? Is it possible to take these writers’ efforts on their own terms and to understand and evaluate the rhetorical strategies that this kind of persuasion might entail?
Informed by the school of rhetorical narratology that includes such critics as Wayne Booth, James Phelan, and Richard Walsh, Hard Sayings offers fresh new readings of fictive works by Flannery O’Connor, Muriel Spark, John Updike, Walker Percy, Mary Gordon, and Marilynne Robinson. In its argument that orthodox Christianity, as represented in fiction, still has the power to persuade and to trouble, it contributes to ongoing debates about the nature and scope of modernity, postmodernity, and secularization.
Haydn is the last major composer whose music was regularly discussed by his contemporaries in terms derived from the classical tradition of rhetoric. Within a generation of his death, that discourse had fallen from favor, but the historical relationship between Haydn and the rhetorical tradition endured.
In this volume, a distinguished group of contributors in fields from classics to literature to musicology restores the rhetorical model to prominence and shows what can be achieved by returning to the idea of music as a rhetorical process. An accompanying DVD, specially designed for this project, presents performances and illustrations keyed to its chapters, making musicological arguments accessible to nonspecialists and advancing additional arguments of its own through the medium of performance. The volume thus reaches beyond musicology to enrich and complicate the larger debate over rhetoric's role in eighteenth-century culture.
Assessing rhetorical principles of contemporary health issues
Hypochondriacs are vulnerable to media hype, anorexics are susceptible to public scrutiny, and migraine sufferers are tainted with the history of the “migraine personality,” maintains rhetorical theorist Judy Z. Segal. All are influenced by the power of persuasion.
Health and the Rhetoric of Medicine explores persistent health conditions that resist conventional medical solutions. Using a range of rhetorical principles, Segal analyzes how patients and their illnesses are formed within the physician/patient relationship. The intractable problem of a patient’s rejection of a doctor’s advice, says Segal, can be considered a rhetorical failure—a failure of persuasion.
Examining the discourse of medicine through case studies, applications, and analyses, Segal illustrates how illnesses are described in ways that limit
patients’ choices and satisfaction. She also illuminates psychiatric conditions, infectious diseases, genetic testing, and cosmetic surgeries through the lens of rhetorical theory.
Health and the Rhetoric of Medicine bridges critical analysis for scholarly, professional, and lay audiences. Segal highlights the persuasive element in diagnosis, health policy, illness experience, and illness narratives. She also addresses questions of direct-to-consumer advertising of prescription drugs, the role of health information in creating the “worried well” and problems of trust and expertise in physician/patient relationships. A useful resource for critical common sense in everyday life, the text provides an effective examination of a society increasingly influenced by the rhetoric of health and medicine.
Hearing the Hurt is an examination of how the New Negro movement, also known as the Harlem Renaissance, provoked and sustained public discourse and deliberation about black culture and identity in the early twentieth century.
Borrowing its title from a W. E. B. Du Bois essay, Hearing the Hurt explores the nature of rhetorical invention, performance, and mutation by focusing on the multifaceted issues brought forth in the New Negro movement, which Watts treats as a rhetorical struggle over what it means to be properly black and at the same time properly American.
Who determines the meaning of blackness? How should African Americans fit in with American public culture? In what way should black communities and families be structured? The New Negro movement animated dynamic tension among diverse characterizations of African American civil rights, intellectual life, and well-being, and thus it provides a fascinating and complex stage on which to study how ideologies clash with each other to become accepted universally.
Watts, conceptualizing the artistic culture of the time as directly affected by the New Negro public discourse, maps this rhetorical struggle onto the realm of aesthetics and discusses some key incarnations of New Negro rhetoric in select speeches, essays, and novels.
Examining the Mexican American civil rights movement through the public rhetoric of a veteran activist
Héctor P. García: Everyday Rhetoric and Mexican American Civil Rights examines the transition of Mexican Americans from political and social marginalization to civic inclusion after World War II. Focusing on the public rhetoric of veteran rights activist and physician Dr. Héctor P. García, a Mexican immigrant who achieved unprecedented influence within the U.S. political system, author Michelle Hall Kells provides an important case study in the exercise of influence, the formation of civic identity, and the acquisition of social power among this underrepresented group.
As a major influence in national twentieth-century civil rights reform, García effectively operated between Anglo and Mexican American sociopolitical structures. The volume illustrates how García, a decorated World War II veteran and founder of the American GI Forum in Texas in 1948, successfully engendered a discourse that crossed geographical, political, and cultural borders, forming associations with the working poor as well as with prominent national figures such as John F. Kennedy and Lyndon B. Johnson. Through his rhetoric and action, García publicly revealed the plight of Mexican Americans, crossing class, regional, and racial lines to improve socioeconomic conditions for his people.
Héctor P. García, which is enhanced by sixteen illustrations, contributes to rhetorical, cultural, and historical studies and offers new scholarship establishing García’s role on the national front, effectively tracing Garcia’s legacy of resistance, the process of achieving enfranchisement, and the role of racism in the evolution from social marginalization to national influence.
The law has traditionally been regarded as a set of rules and institutions. In this thoughtful series of essays, James Boyd White urges a fresh view of the law as an essentially literary, rhetorical, and ethical activity. Defining and elaborating his conception, he artfully bridges the fields of jurisprudence, literature, philosophy, history, and political science. The result, a new approach that may change the way we perceive the legal process, will engage not only lawyers and law students but anyone interested in the relationship between ethics, persuasion, and community.
White’s essays, though bound by a common perspective, are thematically varied. Each of these pieces makes eloquent and insightful reading. Taken as a whole, they establish, by triangulation, a position from which they all proceed: a view of poetry, law, and rhetoric as essentially synonymous. Only when we perceive the links between these processes, White stresses, can we begin to unite the concerns of truth, beauty, and justice in a single field of action and expression.
Situated at the intersection of scholarship and practice, Heritage Keywords positions cultural heritage as a transformative tool for social change. This volume unlocks the persuasive power of cultural heritage—as it shapes experiences of change and crafts present and future possibilities from historic conditions—by offering new ways forward for cultivating positive change and social justice in contemporary social debates and struggles. It draws inspiration from deliberative democratic practice, with its focus on rhetoric and redescription, to complement participatory turns in recent heritage work.
Through attention to the rhetorical edge of cultural heritage, contributors to this volume offer innovative reworkings of critical heritage categories. Each of the fifteen chapters examines a key term from the field of heritage practice—authenticity, civil society, cultural diversity, cultural property, democratization, difficult heritage, discourse, equity, intangible heritage, memory, natural heritage, place, risk, rights, and sustainability—to showcase the creative potential of cultural heritage as it becomes mobilized within a wide array of social, political, economic, and moral contexts.
This highly readable collection will be of interest to students, scholars, and professionals in heritage studies, cultural resource management, public archaeology, historic preservation, and related cultural policy fields.
Contributors include Jeffrey Adams, Sigrid Van der Auwera, Melissa F. Baird, Alexander Bauer, Malcolm A. Cooper, Anna Karlström, Paul J. Lane, Alicia Ebbitt McGill, Gabriel Moshenska, Regis Pecos, Robert Preucel, Trinidad Rico, Cecelia Rodéhn, Joshua Samuels, Kathryn Lafrenz Samuels, and Klaus Zehbe.
What, precisely, does the word hermeneutics mean? And in what sense can one speak of the hermeneutics of original argument? In The Hermeneutics of Original Argument, P. Christopher Smith explores these questions in building upon Heidegger's hermeneutical thought. In applying Heidegger's basic notion that hermeneutics is not a doctrine of interpretation but is its actual execution, Christopher Smith penetrates the abstractions that conceal original argument and explores the structure and nature of argument as it originally occurs.
Historian Carlo Ginzburg uses the occasion of his Menachem Stern Lectureship to present a provocative and characteristically brilliant examination of the relation between rhetoric and historiography. In four lectures, based on a wide range of texts -- Aristotle's Poetics; humanist Lorenzo Valla's tract exposing the Donation of Constantine as a forgery; an early 18th-century Jesuit historical account purporting to record the diatribe of a Mariana Island native against Spanish rule; and Proust's commentary on Flaubert's style -- he demonstrates that rhetoric, if properly understood, is related not only to ornament but to historical understanding and truth. Ginzburg discovers a middle ground between the empiricist or positivist view of history, and the current postmodern tendency to regard any historical account as just one among an infinity of possible narratives, distinguished or measured not by the standard of truth, but by rhetorical skill. As a whole, these lectures stake out a position that both mediates and transcends warring factions in the current historiographical debate.
Terrorist attacks, war, and mass shootings by individuals occur on a daily basis all over the world. In The Homesick Phone Book, author Cynthia Haynes examines the relationship of rhetoric to such atrocities. Aiming to disrupt conventional modes of rhetoric, logic, argument, and the teaching of writing, Haynes illuminates rhetoric’s ties to horrific acts of violence and the state of perpetual conflict around the world, both in the Holocaust era and more recently.
Each chapter, marked by a physical address, functions as a kind of expanded phone book entry, with a discussion of violent events at a particular location giving way to explorations of larger questions related to rhetoric and violence. At the core of the work is Haynes’s call for a writing pedagogy based on abstraction that would allow students to appeal to emotional and ethical grounds in composing arguments. Written in a lyrical style, the book weaves rhetorical theories, poetics, philosophy, works of art, and personal experience into a complex, compelling, and innovative mode of writing.
Ultimately, The Homesick Phone Book demonstrates how scholars of rhetoric and writing studies can break their dependence on conventional argument and logic to discover what might be possible if we dive into and become lost within the very concepts and events that frighten and terrorize us.
Hospitality and Authoring, a sequel to the Haswells’ 2010 volume Authoring, attempts to open the path for hospitality practice in the classroom, making a strong argument for educational use and offering an initial map of the territory for teachers and authors.
Hospitality is a social and ethical relationship not only between host and guest but also between writer and reader or teacher and student. Hospitality initiates, maintains, and completes acts of authoring. This extended essay explores the ways that a true hospitable classroom community can be transformed through assigned reading, one-on-one conferencing, interpretation, syllabus, reading journals, topic choice, literacy narrative, writing centers, program administration, teacher training, and many other passing habitations.
Hospitality and Authoring strives to offer a few possibilities of change to help make college an institution where singular students and singular teachers create a room to learn with room to learn.
Employing the trope of architecture, Jane Sutton envisions the relationship between women and rhetoric as a house: a structure erected in ancient Greece by men that, historically, has made room for women but has also denied them the authority and agency to speak from within. Sutton’s central argument is that all attempts to include women in rhetoric exclude them from meaningful authority in due course, and this exclusion has been built into the foundations of rhetoric.
Drawing on personal experience, the spatial tropes of ancient Greek architecture, and the study of women who attained significant places in the house of rhetoric, Sutton highlights a number of decisive turns where women were able to increase their rhetorical access but were not able to achieve full authority, among them the work of Frances Wright, Lucy Stone, and suffragists Mott, Anthony, and Stanton; a visit to the 1893 World’s Columbian Exposition in Chicago, where the busts that became the Portrait Monument were displayed in the Woman’s Building (a sideshow, in essence); and a study of working-class women employed as telephone operators in New York in 1919.
With all the undeniable successes—socially, politically, and financially— of modern women, it appears that women are now populating the house of rhetoric as never before. But getting in the house and having public authority once inside are not the same thing. Sutton argues that women “can only act as far as the house permits.” Sojourn calls for a fundamental change in the very foundations of rhetoric.
Hunt the Devil is a timely and illuminating exploration of demonic imagery in US war culture. In it, authors Robert L. Ivie and Oscar Giner examine the origins of the Devil figure in the national psyche and review numerous examples from US history of the demonization of America’s perceived opponents. Their analysis demonstrates that American military deployments are often part of a cycle of mythical projection wherein the Devil repeatedly appears anew and must be exorcised through redemptive acts of war, even at the cost of curtailing democratic values.
Meticulously researched, documented, and argued, Hunt the Devil opens with contemporary images of the US’s global war on terror in the aftermath of 9/11. In five chapters devoted to the demonization of evildoers, witches, Indians, dictators, and Reds by American writers, in presidential rhetoric, and in popular culture, Ivie and Giner show how the use of demonization in the war on terror is only the most recent manifestation of a process that has recurred throughout American history.
In a sixth chapter, the authors introduce the archetype of the Trickster. Though not opposed to the Devil per se, the Trickster’s democratic impulses have often provided a corrective antidote to the corrosive and distorting effects of demonization. Invoking the framework of Carl Jung’s shadow aspect, Hunt the Devil offers the Trickster as a figure who can break the cycle of demonization and war.
The role of the mythic Devil in the American psyche has profound implications, not just for American diplomacy and the use of American arms in the world, but for the possibility of domestic peace within an increasingly diverse society. Hunt the Devil provides much of interest to readers and scholars in the fields of war, rhetorical studies, American Studies, US political culture, Jungian psychology, and mythography.