How apt that I received Stories of Mentoring: Theory and Praxis in January of 2009, a time now marked as National Mentoring Month. Rhetoric and composition as a discipline has long prided itself on...

Historians give John Pym due credit as a successful Parliamentarian; rhetorical critics examine Pym's prowess as an orator. Both perspectives focus on Pym's management of issues of the day and do not account for his masterful appropriation of political language. We conduct an ideographic analysis of twelve of his addresses to Parliament between 1640 and 1643. His discourse reveals a crucial reformulation of <law> in relation to subsidiary ideographs, including <religion>, <justice>, and <Parliamentary privilege>. These ideological innovations were instrumental in building Parliamentary opposition to Charles I and allowed for advances in democratic ideas made manifest in Anglo-American liberalism.

I offer a systematic account of the verbal-visual interaction on which presence depends in order to offer, in effect, a genealogy of presence. On the verbal side, I rely on linguistic and rhetorical analysis; on the visual, on Gestalt theory and Peirce's semiotics. To analyze verbal-visual interaction, I rely on Dual Coding Theory, borrowed from cognitive psychology. I contend that recourse to such a theory is essential if we are to explain the central mystery of Perelmanian presence, the transformation from the perceptual into the argumentative and narrative. I illustrate this transformation by analyzing a groundbreaking geological monograph.

This essay considers an essential act of seeing that is central to the composing process—a conceptual moment when the mind acquires a notional sense of what the accumulated evidence means. Yet this necessary conceptual thing cannot actually be seen in any ordinary sense of the word. Imaginal rather than pictorial, the conception is crucial to the effective teaching of writing. Without it there is no hint of idea, no basis for a coherent argument. Without it, student writers remain blinded by the evidence.

Rhetorical theory is amply supplied with warnings against the seductive power of pleasure to persuade, but it has paid less attention to pleasure's role in resisting persuasion. Wordsworth, who is ...

What's not to trust? This commonplace rejoinder to an expression of skepticism is the sort of rhetorical question that is at issue in Susan Miller's latest book. She prefaces her study by questioni...

Focusing on the confluence of mirrors, manners, and ars dictaminis in the late Middle Ages, I argue that thirteenth-century civic engagement organized itself as a decorous spectacle: a well-mannered, highly codified visual performance that reflected and reinforced the structure of medieval Europe's stratified society. Marked by display, courtesy, and participation, decorous spectacle evolved from a groundswell of cultural factors including the emergence of mirror-making technologies, politesse, and, especially, ars dictaminis. Exploring this groundswell provides a way to understand the evolution of late Medieval decorous spectacle and a template for understanding the nature of civic engagement in any era.

Looking back at a few memorable moments during the 2008 presidential primary campaign, Barry Brummett describes a discussion over whether a sweater Senator John McCain wore was “gay” as well as a c...

Abstract An allegoresis of Shakespeare's Troilus and Cressida illuminates this drama as the playwright's act of mythopoesis that characterizes and interprets the second half of Elizabeth I's reign as an historical and political journey through adversities, crises, and conflict to a moment of unified redemption. Action and dialogue allegorically represent the diverse and disparate civic voices of this journey. The drama is Shakespeare's own civic voice morally and ethically arguing and assessing the period as an arrival to national unification, self-identity, and well-being. Notes 1I offer my gratitude to RR reviewers Mark Gellis and Andrew King for their insightful recommendations, and to Theresa Jarnagin Enos and Rhetoric Review for their patience. 2Allegory of typology as relying on well-established pre-texts—in this instance, Chaucer's Troilus and Criseyde and Homer's Iliad; allegory of reification as relying on allusive tropes such as irony, metaphor, simile, pun, image, and personification that are culturally understood by the audience. See Quilligan (ad passim) and Barney (30–38). The two classes of allegory need not be mutually exclusive; they can be simultaneously incorporated into one allegorical work and can support each other to convey the author's perceptions. 3All quotations from Shakespeare's Troilus and Cressida are taken from The Riverside Shakespeare, New York: Houghton Mifflin, 1997. 4For a concise and comprehensive history of Commons' escalating voice and its rise to power, see J. E. Neale's introduction (15–29) and his conclusion (417–24) in Elizabeth I and Her Parliaments 1559–1581; and the conclusion (434–39) of Neale's Elizabeth I and Her Parliaments 1584–1601. Neale identifies the birth of Commons' evolving empowerment with Sir Thomas More's plea for parliamentary freedom of speech as early as 1523 during the reign of Henry VIII. 5Although probable sources, none of these names appear in Chaucer's Troilus and Criseyde or in George Chapman's Iliad. Only one reference to the Dardan gate appears in Lydgate's Troy Book, in which it is synonymous with the famous Scaean Gate of Iliad fame. It was referred to as the Dardan gate because it faced northwest toward the Dardanelles. Only until the twentieth century did archaeological evidence at the Troy site in Hycarlic suggest other gateway entrances in Troy's walls. 6Ordish identifies seven gates in Elizabethan London: Aldgate, Bishopgate, Moorgate, Cripplegate, Aldersgarte, Newgate, and Ludgate (5). However, Moorgate was considered a minor gate and originally a postern that would leave a total of six main gates for Elizabethan Londoners. The other six gates mentioned were the original six that descended from the Medieval Period. Another gate, adjacent to the Tower of London, had been demolished to construct the Tower, and only a pedestrian passageway remained. 7Graves uses an interesting turn of phrase for patronage recipients' commitment: "They also reinforced loyalty by pandering to self-interest" (114). 8The "pearl" metaphor as Elizabeth in this context in all probability held three significances for the Elizabethan audience: (1) At least from the time of the poetic works of the anonymous "Pearl Poet," the pearl signifies purity thereby affirming Elizabeth as the "Virgin Queen"; (2) Elizabeth's purity in relation to God and her Realm are divinely ordained; and (3) in like to "divine," she is ubiquitously felt yet distant and tenuous, one whose relation is not easily attained. Elizabeth's symbolic association with pearls is clearly depicted in her Pelican Portrait, c. 1575, and the Armada Portrait of 1588; her gowns and her hair are encrusted with pearls, and she is portrayed in both portraits with elaborate displays of pearl necklacing. From another perspective: In the Parliamentary session of 1597–98 when monopolies, granted under the authority of her Royal Prerogative, were being challenged by the House of Commons as lending to abuses affecting the welfare of the poor, the Lord Keeper, Sir Thomas Egerton, quoted her response in stating: "Her Majesty … hoped that her dutiful and loving subjects would not take away her Prerogative—which is the chiefest flower in her garland and the principal and head pearl in her crown and diadem" (Neale, 1584–1601 355). 9Further exploration in identifying allegory as another separate and distinct mode of drama within the corpus of Shakespeare's plays appears viable. Preliminary examination of The Tempest has already indicated to me strong allegorical elements at work and consistent in execution with Troilus and Cressida. They lead me to consider the plays two pieces of a set as "allegory/drama"—a protracted legend of the Tudor Dynasty and its relinquishing evolution to the Stuarts. This preliminary thesis would also include Henry VIII as a necessary stage for Troilus and Tempest to complete the set as a dynastic work. 10… and possibly propaganda for Elizabeth's recent favor toward the House of Commons, also a positive assessment of her reign for the chronicles of history. 11See Dennis Slattery's discussion of mythopoesis as "the ground of narrative knowing" in Sophocles' Theban Plays and the journey from the profane to the sacred in his essay, "Oedipus at Colonus: Pilgrimage from Blight to Blessedness" (ad passim).

Paul Butler's Out of Style: Reanimating Stylistic Studies in Composition and Rhetoric enters into several contentious conversations taking place in and around composition studies today. Ostensibly,...

This article positions letters of recommendation as important and troubling indicators of faculty beliefs about diversity and access in higher education. I focus on the disclosure of disability, both by examining the history of disclosing stigmatized difference and by analyzing five letters of recommendation for an aspiring graduate student with a traumatic brain injury. I suggest that faculty must revise their letter-writing practices and engage in a type of rhetorical forecasting that questions well-intentioned disclosures of difference and imagines how various letters form a composite sketch of a candidate.

Why do the Chinese relate rhetoric only to stylistic devices in writing? This question, which has puzzled scholars for decades, is finally answered. Modern Chinese rhetoric began to form in the late 1800s when Chinese students learned Western rhetoric from their Japanese professors, who translated it into “the study of beautiful prose,” subsequently severing it from oratory. In the early twentieth century, scholars returning from Japan and the US integrated Japanese theories and Anglo-American figures of speech into Chinese literary and literacy traditions despite nativists' protests and appropriated them into a canon of aesthetics only for writing studies.

Abstract During WWII psychologist Carl Rogers introduced a verbal counseling technique that could be utilized by clergy, teachers, and USO workers to help veterans overcome problems of readjustment. Rogers's arhetorical principles were adapted for the writing classroom by Young, Becker, and Pike—an adaptation that later led composition historian James Berlin to misinterpret the implementation of Rogers's principles in his study of a WWII communication program. These misinterpretations of Rogers's original intent have resulted in debate over the rhetorical or arhetorical nature of Rogerian rhetoric and have led to an inaccurate association between Rogerian rhetoric and expressivist and therapeutic writing. Notes 1My thanks to RR reviewers Paul Bator and Janice Lauer for their detailed and helpful revision recommendations, and to my colleagues Robin Veder and Mary Richards for their generous advice on early drafts. 2 Rhetoric and Reality is required reading for many PhD programs in rhetoric and composition and as such has informed, and continues to inform, a majority of scholars in the field. Sharon Crowley cites Rhetoric and Reality as the source for her statement that "[o]ne truly radical communication skills program … was implemented at the University of Denver" (Composition 172). And David Russell refers to Rhetoric and Reality several times in support of his treatment of communications courses and expressivist writing instruction. 3Although Young, Becker, and Pike defer to Anatol Rapoport's Fights, Games and Debates as a foundation for their theory, Rapoport is rarely mentioned as the initiator of either the strategies for or the terms Rogerian argument or Rogerian rhetoric. 4See Halasek; Bator; Hairston; and Ede. 5It is now (many years following the publication of the Rogers and Young et al.'s discussion) possible for Rogers's strategy of "listening" to a reader's point of view to succeed in a synchronous online chat environment, where a writer has a present/absent audience, and the reader is capable of presenting immediate feedback to the writer. 6Young, Becker, and Pike insist that the other two prongs of their Rogerian argument strategy for writers are an alternative to conventional argument, but their proposal of delineating "the area within which he believes the reader's position to be valid" and convincing the reader that he and the writer have "moral qualities (honesty, integrity, and good will)" in common seem little more than a watered-down version of Aristotle's very conventional appeal to ethos (275). 7Rogers did later validate his person-centered approach through the formation of the Carl Rogers Institute for Peace, an organization that helped ease social tensions in such troubled areas as Northern Ireland, South Africa, and Central America. Perhaps it was this successful approach to social and political conflict resolution that initially attracted Young et al. to Rogers's principles and convinced them to attempt an adaptation of those same principles as an alternative to the agonistic type of argument taught in the writing classroom. 8The conventions of the Institute of General Semantics state that the term general semantics is not capitalized. 9In his introductory chapter to Rhetoric and Reality, Berlin does identify the use of general semantics as "a device for propaganda analysis" (10) and does give Denver credit for promoting "cooperative rather then competitive thinking" (101). 10Brigadier General Elliot D. Cooke conducted a study for the War Department in the spring of 1943 and concluded that "nearly as many men were being discharged from the Army as were entering through induction stations" due to "a thing called psychoneurosis" (11). By 1946 at least 40 percent of men receiving pensions for a physical disability were labeled as psychoneurotics, but only 10 percent of that 40 percent had seen combat. 11Archival evidence from the University of Denver reveals that enrollment rose "by 57 percent compared to the pre-war enrollments of 1939" and "the percent of Veterans on campus rose to 60 percent" (Zazzarino). 12Elbow sees the terms expressivist or expressionist as problematic and credits them both as terms of "disapproval" coined by Berlin. In defining the terms as "writing that expresses what I feel, see, think," Elbow concludes that they are "indistinguishable from any other kind of writing" ("Binary Thinking" 20). 13See also Halasek for an insightful analysis of ways in which Elbow's "Believing Game" can be applied to Rogerian principles.

An Inconvenient Truth has inspired a wave of public concern about global warming. The film's environmental rhetoric invokes a millennial apocalypticism inherited from canonical works like Silent Spring. However, Truth moderates its apocalyptic tendencies with scientific rationalism and constructions of audience agency. In so doing, Truth offers a tempered apocalypticism that embraces the affect of a more fiery tradition while maintaining an authoritative voice, thereby appealing to a broader audience. Truth makes clear that there can be no singular environmental rhetoric, but a mixture of rhetorics that mirrors the contentious climate of environmental politics.

As advice books on caring for the home become more popular, they become more specialized. This essay analyzes one target niche of domestic advice: cleaning books for men. The authors of books like Clean Like a Man adopt as their primary persuasive strategy an ethos that establishes their own masculinity and, by extension, affirms the masculinity of readers. Though they explicitly argue for more equitable sharing of domestic tasks, the ethos adopted by the authors reveals general ambivalence about the changing notions of masculinity associated with such behaviors.

Abstract The author argues that we have chosen a rhetorical history that normalizes and silences rhetorical bodies. In response, the author exhumes an embodied history of rhetoric, reexamining the myths of the Greek goddess Metis as a means of enlivening rhetorical theory and history. The author then connects these myths to other rhetorical traditions invoked by Hélène Cixous and Gloria Anzaldúa, connecting Metis to Medusa and to mestiza consciousness. The author affirms the rhetorical power of the body, specifically of those bodies that challenge rhetorical norms. Notes 1I thank generous RR reviewers Richard Enos and Michelle Ballif for their advice and assistance with this essay. 2In Grosz's words, "[T]he body has remained a conceptual blind spot in both mainstream Western philosophical thought and contemporary feminist theory" (Volatile 3). The body then becomes "what is not mind … implicitly defined as unruly, disruptive, in need of direction or judgment, merely incidental … a brute givenness which requires overcoming" (Volatile 3–4). 3Thanks to Richard Enos for his thoughtful comments in reviewing an earlier draft of this manuscript. 4Disability studies scholars use the term normate to designate the unexamined and privileged subject position of the supposedly (or temporarily) able-bodied individual. The word normative also converts the idea of normalcy into an active process—norms "are" but they also "act"—we live in a culture in which norms are enforced, a normative society. It can—and has—been argued that in antiquity there was not a concept of normalcy per se. But as Lennard Davis writes, although the word normal appeared in English only in the mid-nineteenth century, "before the rise of the concept of normalcy … there appears not to have been a concept of the normal, but instead the regnant paradigm was one revolving around the word ideal. … [I]n the culture of the ideal, physical imperfections are not seen as absolute but as part of a descending continuum from top to bottom. No one, for example, can have an ideal body, and therefore no one has to have an ideal body" (Enforcing 105). Yet Aristotle had more than one concept of ideality—he expounded on the idea of the mean, for instance. He outlined the idea of both an absolute mean, a method for measuring humans against one another, and a relative mean, a system for disciplining oneself (Nicomachean Ethics II 6–7). I would argue that the commingling of these imperatives results in a normative culture or society—both the upheld fiction of perfection and the systematic self- and Other-surveillance and bodily discipline of normative processes. 5This is true for women particularly, but the stigma of femininity is also applied to men. For instance, Demosthenes was said to have been soft and lame because he spoke with a stutter and had an overly feminine demeanor. Physical disability is mingled with femininity to discredit him—see his exchanges with Meidias in particular and Cicero's investigation of Demosthenes' self-education in De Oratore. The story of Demosthenes that has been popularized holds that through rhetorical practice Demosthenes overcame these "impediments" to become a great orator (see Hawhee; Fredal). The possibility that Demosthenes' difference could have queered his bodily/rhetorical performance in a generative sense is not addressed—indeed, any such transgressive possibility is ignored, despite that fact that other historians convincingly challenge the narratives of overcoming and passing that have been ascribed to Demosthenes (see Martha Rose). 6In contrast, an abstract, flawless (male) body becomes a tool for norming. As (Plato wrote and) Socrates said in the Phaedrus, "[A]ny discourse ought to be constructed like a living creature, with its own body, as it were; it must not lack either head or feet; it must have a middle and extremities so composed as to suit each other and the whole work" (128). 7In the Phaedrus, Plato could be seen to change positions slightly, suggesting that certain forms of more "scientific" and therefore "noble" rhetoric might be acceptable (see White; Ramsay; McAdon; Solmsen for a range of readings). 8I gesture here to the work of Rosemarie Garland-Thomson and her book Extraordinary Bodies: Figuring Physical Disability in American Culture and Literature, foundational in disability studies. Garland-Thomson was one of the first scholars to show that "seeing disability as a representational system engages several premises of current critical theory: that representation structures reality, that the margins constitute the center, that human identity is multiple and unstable, and that all analysis and evaluation has political implications" ("The New Disability Studies" 19). These premises are also the premises of this essay. 9Hawhee's linkages between mêtis and wrestling, and then between wrestling and rhetoric, provide an interesting image for this form of intelligence: "the corporeality of mêtis" as "struggle" or "the swarming mass of cunning craftiness and flailing limbs" (46, 45). 10In Randy Lee Eickhoff's recent translation of the Odyssey, he points out that Odysseus, considered to be another exemplar of mêtis, uses the name me tis or "no man" as a pun (n4; 404). 11 Mêtis has the practical advantage (and perhaps theoretical disadvantage) of "disappearing into its own action [so that] it has no image of itself" (de Certeau 82). Mêtis cannot be contextualized or schematized because each time it occurs in a context, it shifts that context, and each sequence it is inserted into is distorted (de Certeau 83–84). 12In the classical context, Homer, the mythical seer Tiresias, Oedipus, the great orator Demosthenes, Paris's killer Philoctetes, Croesus's deaf son, and others form our view of disability. In these stories, typically, disability impels narrative through the themes of overcoming, compensation, divine punishment, and charity. 13As I have previously argued, we can also view mythical discourse as, in the words of Susan Jarratt, "capable of containing the beginnings of … public argument and internal debate" (35). Despite the idea, advanced by Eric Havelock in particular, that myth was rote and didactic, we might see myth as being connected to the body, as being highly rhetorical, as being an arena for mêtis—thus my retellings hopefully honor this spirit (see also Slatkin). 14The myth of Metis can be traced as far back as Hesiod (Theogony lines 886–900). 15It is worth noting that these ableist accents on the denunciation of mêtis are also accompanied by a distinct ethnocentrism and even xenophobia. The word metic meant immigrant in ancient Athens. The word is a compound of the words change (meta) and house (oikos), and literally meant someone who changed houses. Many of Plato's attacks on the flexibility, malleability, and the bodily materiality of rhetoric are aimed at the Sophists, metic non-Athenians, and are part and parcel with a larger ideological agenda. 16 Techne was similarly made practical. As Janet Atwill explains in Rhetoric Re-Claimed, techne, when it is allied with mêtis (as it is by the Sophists), "deforms limits into new paths in order to reach—or, better yet, to produce—an alternative destination" (69). Yet we now refer to technai, handbooks full of sets of rules and examples, when we think of techne. William Covino argues that "reactions against the Sophists contributed to the establishment of rhetoric as techne without magic" (20). This distortion is similar to the attempt to ally mêtis only with the forms of knowledge Plato and Aristotle most highly value—to make it precise, a science, as Aristotle does. 17When defining phronesis in the Nicomachean Ethics, Aristotle never truly rules out the idea that one would need some form of cunning intelligence to have "prudence," and the version of phronesis he outlines is certainly an abstract form of knowledge. He suggests that to have prudence one must understand particulars as well as universals. Yet the version of phronesis that was later adopted—for instance as one of the Medieval four cardinal virtues—sheds much of this uncertainty and avoids reference to cunning intelligence. 18There also may have been a familial connection between Hephaestus and Medusa—in some myths the two are sexual partners. Their child, Cacus, was said to be a fire-breathing giant. Cacus was said to eat human flesh and nail human heads to his door. Killing him was one of Heracles's twelve labors (Graves, The Greek Myths 158). This link is not made by all scholars, though the story shows up in Ovid and in Virgil's Aeneid. 19Often, Medusa wasseen to symbolize "artful eloquence." For instance, Coluccio Salutati in the fourteenth century and Nancy Vickers in the twenty-first both argue for this reading. As Salutati suggests, the snakes on her head might be seen as "rhetorical ornaments … instruments of wisdom" because snakes are "reported to be the most cunning" (55). In this interpretation Medusa turns an audience to stone not because of her looks but because of her rhetorical power—her audience "so convinced of what they have been persuaded that they may be said to have acquired a stony quality" (56). Vickers goes further, sourcing this connection back to Plato (254). She also argues that Medusa's "stoning" be seen as a rhetorical power, an ability to change the audience's state of mind, accompanied by a somatic effect. Finally, she suggests that Medusa's rhetorical power might represent the freezing of us all before the specter of the feminine—and she asks what we might do to reverse a legacy of neutralization and appropriation of the Other. 20As an example of the ways that myths crucially disagree with one another, we can see that in Homer's version of the story, Medusa comes into the world with her head of snakes. I think such differences reveal quite marked transitions in and contestations of signification. 21Of course it matters very much whether Medusa was raped or not. As Patricia Klindienst Joplin has argued, this rape has often been elided, and responsibility for it shifted away from Poseiden to Athena. She suggests that this shifting of responsibility essentially excuses men's violence toward women and thus silences women further. 22Detienne and Vernant write that mêtis was often symbolized by the octopus. Thus this connection to the octopus of mêtis may not have been coincidental. Certainly the original Medusa myth relied upon a reference to the dangerous, trapping "knot made up of a thousand arms" that the octopus represented and that conveyed a sense of the powerful double-ness and unpredictability of mêtis (38). 23Graves writes that vials of Medusa's blood were widely distributed: The blood had the power both to kill and to cure (Greek Myths 175). There are many contradictory stories about who received the blood, who distributed it, and who used it for good, who for bad (Greek Myths 175). 24The myth may also express a male fear of Medusa's creative power—she is so "procreative" that her children Chrysaor and Pegasus spring from her dead body (Graves, Greek Myths 127). 25I would argue that as teachers, we need to avoid the temptation to "eat" mêtis and wrest control over knowledge away from students. Students' cunning strategies and divergent expressions may threaten us or challenge us, but we cannot believe that mêtis is something we use on students, that we can be the sole tricksters, holding student bodies captive. Nor can we use the brute force of Zeus or Perseus to coopt their power when it threatens us, to subordinate their thinking bodies. 26The French word métis is related to the Spanish word mestizo, both coming from the Latin word mixtus, the past participle of the verb to mix and connoting mixed blood. 27In critical theory the concept of metissage also locates and interrogates the ways that certain forms of knowledge have been relegated to the margins, and thus this concept links usefully to the stories I have been reanimating. Metissage, obviously etymologically linked to mêtis and meaning mixture or miscegenation, has been used as a critical lens through which one might observe issues of identity, resistance, exclusion, and intersectionality. Relying upon metaphors of mixture that are biological and cultural, this concept of metissage both is like and is what Gloria Anzaldúa refers to when she writes about mestiza consciousness. (See Steinberg and Kincheloe; Hardt and Negri; Gruzinski; Glissant.) 28Coatlalopeuh later becomes conflated with the Virgin of Guadalupe after the Spanish Roman Catholic conquest of Mexico. 29Carrie McMaster also suggests that we might learn from Anzaldúa's writing about her own bodily difference—having experienced congenital disease, chronic illness, disability—to "draw non-homogenizing parallels between various embodied identities" ("Negotiating" 103). In Anzaldúa's own words, "[T]hose experiences [with disability] kept me from being a 'normal' person. The way I identify myself subjectively as well as the way I act out there in the world was shaped by my responses to physical and emotional pain" ("Last Words?" 289). From this we can make some suggestions about the epistemological entailments of mestiza knowledge—it comes from unique, never "normal," bodied experiences. The "leap" that should be encouraged, then, is to see such situated knowledge as vital and perhaps even central to human experience. The "abnormal" body is not something given to women symbolically as a form of derogation; it is an engine for understanding and thus has serious rhetorical power.

Sizing Up Rhetoric is a collection of thirty papers from the 2006 biennial conference of the Rhetoric Society of America, held in Memphis that May. As such, it presents a challenge for the book rev...

This article employs theories of counterpublics to investigate the Arab-American press before and after 9/11 as a counterpublic to the American war on terror. We use Squires's categorization of counterpublics as (1) assimilative enclaves, (2) satellites seeking separation, or (3) resistant counterpublics, actively dissenting. Using a corpus of 113 articles from Arab American News, we argue that the Arab-American press circulated stories consistent with (1) and (2) but not (3). We conclude that a strategy of active resistance required greater standing of the Arab-American point of view in mainstream American thought than Arab-Americans enjoyed.

In a previous discussion in the Burkean Parlor, I argued that Mark Smith's book, The Right Talk (2007), was boring and largely unhelpful to rhetorical scholars because it explained the contemporary...

Click to increase image sizeClick to decrease image size Notes Student contributors: Aaron Erdman, Dorota Glosowitz, and Lauren Hansen. All student quotations have been used with their explicit permission: Jesse Eslin, Gigi Johnson, Kristen Kucks, Jeff Marbacher, and Ashley Poulin.

An important aspect commonly overlooked in Gorgias' Encomium of Helen is the complicated cultural terrain on which it sits—a complex crossroad where legality and mythology intersect in the powerful...

This paper highlights the largely unacknowledged theoretical and pedagogical contributions of Austin Phelps, the accomplished nineteenth-century preacher and teacher of rhetoric, in two ways: First, it demonstrates that Phelps's methods of instruction depart from the documented trends in rhetorical education at American colleges during the mid-nineteenth century in that he endeavors to teach the sermon as a form of civic engagement. Second, it shows how Phelps's discussions of the unconscious in the process of composing and his insights into the role of emotion in the writing process anticipate aspects of the process movement in Composition Studies.

Abstract Notes 1The 2007 Survey of Doctoral Programs in Rhetoric and Composition was approved by the New Mexico State University Institutional Review Board on April 18, 2007, Human Subject Application #219 (Exempt Pre). 2Consistent with earlier surveys, we use the term rhetoric and composition as a commonplace to signify the variety of programs profiled, including those that emphasize technical and professional communication or those that offer an English degree with emphasis in rhetoric and composition. 3The 1994 survey included two Canadian programs (Simon Fraser University and University of Waterloo). Neither appear in the 2000 nor the 2007 surveys.

The development of the rhetorical tradition in the West owes a largely unacknowledged debt to Islamic scholars. Between 711 and 1492 CE, Muslim-controlled Spain became a significant site of scholarly inquiry into the European Classical heritage—often involving the efforts of Christian, Jewish, and Muslim thinkers. One of the luminaries of this scholarly tradition is Ibn Rushd (known more generally by his Latinized name, Averroes), known to Medieval thinkers as “The Commentator” for his vast, multifaceted corpus of work on Aristotle, The Master of Those Who Know.

This is a provocative book in which James Comas gives serious attention to the importance of ethics and politics in the formation of our disciplinary identities. The book challenges English studies...

A lawyer and a rhetorician pose and endeavor to answer from two perspectives the following question: How has the United States Supreme Court managed to endure and to maintain legitimacy for over two hundred years, given the potentially destabilizing cases it has had to decide? In this exploratory, interdisciplinary essay, the lawyer first examines the way the Court has been grounded, historically, in a common-law tradition and how its reliance on stare decisis seems to be amenable to most Americans. The rhetorician continues the exploration by linking the Court's common-law practice to issues of interpretive power, ethos, dialogism, and pragmatic philosophy and practice.

Many medieval women mystics undermined misogyny with persuasive eloquence. This essay does a comparative rhetorical analysis of Julian of Norwich's Showings and the Ancrene Riwle, positing that the fourteenth-century English mystic knew the twelfth-century text and developed her theology, in part, as a corrective to its Augustinian dogma.

Pedagogical materials from the early twentieth-century Americanization movement functioned rhetorically as responses to public discourse, which was highly critical of immigrants' language practices. In teachers' journals and language textbooks, educators engaged in a dialogue with the public, seeking to establish themselves as proponents of social progress and cultural stability. They framed English instruction as a tool for a refashioning of the nation and embraced monolingualism as a unifying force within that nation. As educators sought to engage native-born Americans and immigrants alike in the creation of this ideal nation, assumptions about national identity became embedded into pedagogical practices.

In his preface to The Great Arab Conquests (Da Capo, 2007), Hugh Kennedy argues of his method that he has tried neither to dismiss as too-suspect the narrative historical sources nor to cherry-pick...

By relying on Oliver Wendell Holmes's decisions as a Supreme Court Justice, I argue that aphorisms employ enthymematic reasoning and that enthymemes are best conveyed through aphorisms. Such an argument requires that I classify Holmes's decisions as aphorisms and show how Holmes explicitly rejects formal, legal rhetoric. These two moves are most clear in his First Amendment decisions, and it is these decisions that demonstrate how Holmes rethinks, broadly, the relationship between rhetoric and law. Holmes's position on the First Amendment, informed by the relationship between aphorisms and enthymemes, helps show how style is constitutive of reason.

For what purpose is this midrash presented? As parable, paraphrase, prophecy, and dramatic monologue, midrash offers an illuminating perspective on Louise Rosenblatt's Literature as Exploration. Deeply influenced by libertarian ideals of her family, Rosenblatt crafted a unique philosophy in which the process of reading literature was intertwined with the aims of democratic citizenry. Working to understand her insistence on the need for imaginative extension helps us to recall a vanished ideal of democratic culture and the role that literature was to play within it.

This article analyzes the conceptual metaphor Corporations Are Governments in order to demonstrate the integral relationship between the unconscious operations of metaphor emphasized by conceptual metaphor theory and explicit rhetorical influences such as linguistic choices, patterns of rhetorical response, and overarching narratives that are used to organize and evaluate evidence. It argues that conceptual metaphors are shaped significantly by a give-and-take among ideologically accented and often deliberately considered metaphors, metonymies, and narratives.

The Rate My Professors (RMP) online student discourse community shapes and defines current public rhetorics of pedagogy. RMP is a cultural phenomenon indicative of a larger movement in extra-institutional discourse toward ranking and assessing people and products. More important than the postings on RMP, however, or their measurable accuracy, is how RMP reflects the increasingly convergent interests of consumer culture and academic culture, shaping the ways that pedagogy is valued and assessed by students within the public domain. Faculty therefore must consider RMP's effect on public discourse about pedagogy in order to help students understand evaluation as a tool for civic exchange.

My thinking about the human condition has profited from scholarship in not only political science but also such academic fields as sociology, religious studies, history, and, of particular relevanc...

In 1834 the Richmond Whig declared with alarm that “the Republic has degenerated into a Democracy” (Sean Wilentz. The Rise of American Democracy. New York: Norton, 2005. 425). What they meant was t...