Book Review| February 01 2013 Review: The Inarticulate Renaissance: Language Trouble in the Age of Eloquence, by Carla Mazzio Carla Mazzio, The Inarticulate Renaissance: Language Trouble in the Age of Eloquence. Philadelphia: University of Pennsylvania Press, 2009. 349 pp. ISBN 978-0-8122-4138-9 Rhetorica (2013) 31 (1): 111–113. https://doi.org/10.1525/rh.2013.31.1.111 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: The Inarticulate Renaissance: Language Trouble in the Age of Eloquence, by Carla Mazzio. Rhetorica 1 February 2013; 31 (1): 111–113. doi: https://doi.org/10.1525/rh.2013.31.1.111 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2013 by The International Society for the History of Rhetoric. All rights reserved.2013 Article PDF first page preview Close Modal You do not currently have access to this content.

Recurring features of Miltonic rhetoric during the 1640s include the structural patterns of the oration and the animadversion, widespread deployment of the classical high, low, and middle styles, and an epideictic mode of praise and blame. Equally noteworthy is the close relationship of rhetoric and poetic. These features can be used as a template to characterize Milton’s work in 1659–60, his final period as a political controversialist. Five texts make up this period: Civil Power (1659), Likeliest Means (1659), two editions of The Readie Way (1660), and Brief Notes (1660). In 1659–60 the oration remains Milton’s preferred form of public, inaugural address, yet traces of the Puritan sermon can also be found. As he had done in the 1640s, Milton later relied on the classical low style for argument, documentation, and narration. The poetic qualities of Miltonic polemic are as evident in 1659–60 as they had been in the 1640s. The well-developed mimetic identity of the second edition of The Readie Way represents a sophistication of the localized mimesis of the 1640s.

Reviews Carla Mazzio, The Inarticulate Renaissance: Language Trouble in the Age of Eloquence. Philadelphia: University of Pennsylvania Press, 2009. 349 pp. ISBN 978-0-8122-4138-9 From Longinus to Cicero, Quintilian to Dryden, Susenbrotus to Priestley, vehement emotion was embodied in murmuring and mumbling, fits and starts, paroxysms of the inarticulate: aposiopesis, for example, denoted "some affection" that "breaks off... speech before it be all ended" (John Smith, The Mysterie ofRhetorique Unvail'd [1656], 148); it signified shame, fear, or anger, a "sodaine occasion" rupturing or impugning a speech or a story. An “auricular figure of defect," a "figure of silence, or of interruption," according to George Puttenham, aposiopesis was "fit for phantasticall heads" (The Arte of English Poesy [1589], 139). Should "phantasticall heads" prevail, figures flourish: as Dryden observed, "interrogations, exclamations, hyperbata, or a disordered connection of discourse" naturally convey fervid, enthusiastic, rancorous speech. "By me," the character 'Aposiopesis' says in Samuel Shaw's Words Made Visible (1679), "wise men stop themselves in the very career of their passion," and "do not tell you half of what they'l make you feel" (168). A taut ensemble of figures embody vehemence or incoherence, fre­ quently asyndeton (acervatio dissoluta), hyperbaton, and aposiopesis, but all staccato, inflamed, or interrupted speech—devoted to 'feeling' rather than 'telling'—has a robust somatic component. Passion is expressed by voice (pronuciatio) and gesture (actio), the fifth, and perhaps most important, canon of rhetorical invention, as some, following Demosthenes, have argued. Deliv­ ery is a "sort of language of the body" (Cicero, Orator, 17.55), and where but in the theatre might such a language have more power? Orators might learn from actors (see Quintilian, 11.3 ff.): making an effective speech, whether to the pit or in the court, enjoins eloquence of the head and arms, hands and eyes as well as invention, disposition, bold figures (as Joseph R. Roach, The Player's Passion: Studies in the Science ofActing [Cranburgh, New Jersey: Asso­ ciated University Presses, 1984], has argued). The inarticulate is a species of performance, to which the 'age of eloquence' devotes significant resources. Carla Mazzio's erudite and stimulating The Inarticulate Renaissance does not explore actio or pronunciatio (she cites neither Roach nor Noel Malcolm's The Origins of English Nonsense [London: Fontana, 1998], which treats early Rhetorica, Vol. XXXI, Issue 1, pp. 111-133, ISSN 0734-8584, electronic ISSN 15338541 . ©2013 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2013.31.1.111. 112 RHETORICA modern poetic nonsense). While she briefly engages Thomas Wilson s Ci­ ceronian Arte of Rhetorique and Abraham Fraunce's Ramist Lawiers Logike (unaware that Fraunce paraphrases rather than 'cites' Ramus [121]), Mazzio s sense of the rich and variegated history of rhetoric in the period is akin to her uneven treatment of humanism—partial or monolithic, jejune or stultifying, depending on her argument. She is rarely sensitive to the revisions underway in rhetorical inquiry in the period, where former vices (aenigma, for example) are redescribed as virtues, by playwrights schooled in humanist rhetorical canons, eager to ignite their increasingly sophisticated audiences. Instead, her focus is "alternative foims of perception, expression, and agency that were occasioned by departures from verbal coherence and efficacy" (216 n. 2). In six parts, The Inarticulate Renaissance deftly and subtly examines an eclectic ensemble of 'departures': Reformation polemic and emergent na­ tionalism, Ralph Roister Doister and Hamlet, the haptic in Thomas Tomkis' play Lingua (1607) and the politics and poetics of revenge in Thomas Kyd. Her notes and bibliography (more than one third of the text) gather an im­ pressive array of contemporary scholarship, and her readings of various texts are sophisticated, even virtuoso. Her chapter on Kyd's Spanish Tragedy (1592), for example, suggests that the play "fails to fully synthesize classical and contemporary materials" (95); the resultant "confusion" speaks to the ways in which Kyd exposes the "less than articulate underside of imperial ambition and Protestant proto­ nationalism" (96) as well as...

118 RHETORICA Finally, all four of the above scholars agree that the United States en­ tertained a golden age of republican deliberation, eclipsed by some nondemocratic darkness. The corrupting culprit has many faces—prophetic oratory, patriotic veneration, ironic citizenship, enemyship—and the glo­ rious democratic days stretch across many, often contradictory, periods before 1789 (Engels), after 1789 (Mercieca), before 1810 (Eastman), after 1810 (Gustafson). Despite disagreements about why or when democracy fell, the aftermath is always the same, the narrative always romantic-tragic. If the American Enlightenment has been defined as the Rhetorical En­ lightenment, then scholarship of the era is aptly positioned to engage in a consummately Enlightenment effort: critique. Future scholars can ques­ tion the assumed discursive nature or regional character of the American Enlightenment. They can interrogate the assumption that the American En­ lightenment was primarily realized in public address. And they can press on the continual and inconsistent attempts to locate a golden age of democratic deliberation preceding a tragic collapse. For that reason, despite their many merits, these four books' greatest virtue is their common invitation to critical reception. Mark Garrett Longaker University of Texas at Austin Eugenio Refini, Per via d'annotationi. Le glosse inedite di Alessandro Piccolomini all'Ars Poetica di Orazio («Morgana.» Collana di studi e testi rinascimentali diretta da Lina Bolzoni n. 11), Lucca: Maria Pacini Fazzi Editore, 2009, 246 pp. ISBN 978-88-7246-956-9 Nel panorama di studi sul secondo Cinquecento italiano s'inserisce Tedizione delle inedite Annotationes quaedam super Artem Poeticam Horatii di Alessandro Piccolomini, erudito senese (1508-1579) della cui produzione solo in questi anni si sta compiendo un recupero plenamente scientifico: un primo, concreto esempio è dato proprio da questo volume, ottimamente curato da Eugenio Refini che qui sviluppa la sua dissertazione di laurea, discussa a Pisa nel 2007. Si tratta di un commento, quello del Piccolomini, che molto probabilmente era pronto per la stampa, ma che rimase inedito forse a causa della morte del suo autore, avvenuta nel 1579. In ogni caso testimonia la lunga frequentazione di Piccolomini con la poesía oraziana, il cui apporto non è stato finora sufficientemente approfondito, dal momento che Tattenzione degli studiosi si è maggiormente concentrata sui contributi aristotelici che Piccolomini iniziô a elaborare negli anni del suo soggiorno a Padova tra il 1538 e il 1542 e che lo accompagnarono anche successivamente (le Annotazioni nel libro della Poetica d'Aristotele pubblicate a Venezia nel 1575, dopo che Reviews 119 tre anni prima ne aveva tradotto il testo, e i tre volumi délia Parafrase alla Retorica aristotélica, usciti tra il 1565 e il 1572). Il volume si articola in cinque densi capitoli che mirano a illustrare il método di lavoro di Piccolomini (a questo tema sono sostanzialmente dedicati i primi due: «Poeta in hoc libro, non philosophus». Methodus e ordo nella glossa proemiale delle Annotationes, pp. 21-31; Commentare Orazio «per via d'annotationi,» pp. 33-48) e a focalizzare le riflessioni che Orazio suggerisce ail umanista senese nell elaborazione teorética sul concetto di poesía e di poética, in stretta dialettica con i contributi aristotelici (su questi argomenti sono centrati i tre successivi capitoli: «Fuit haec sapientia prima.» La poesía nel sistema piccolominiano dei sapen, pp. 49-83; «Non satis est pulchra esse poemata.» Diletto e giovamento nella lettura piccolominiana di Orazio e Aristotele, pp. 85-106; «Sic veris falsa remiscet». Cose e parole tra falso, vero e verisimile, pp. 107-135). Nel primo capitolo, Refini sottolinea corne Piccolomini nel proemio delle Annotationi s'interroghi in mérito alla specifica natura dell'Ârs poética, di cui rivendica la qualifica di testo poético e non filosófico, evidenziandone «il carattere asistematico» (p. 22). Refini, inoltre, ha il mérito di collocare questa riflessione all'interno di un più ampio dibattito sul concetto di methodus, esemplificato da Robortello e, soprattutto, dal De methodis di Giacomo Zabarella del 1578, che lo definisce, secondo le chiare parole dello stesso Refini, corne «il procedimento attraverso il quale da una cosa nota si deduce o inferisce cosa ignota» (p. 24). Come si puô notare, l'attenzione non solo nominalistica che Piccolomini assegna alla natura del testo oraziano, alla...

124 RHETORICA Díaz Marroquin's most original contribution appears in the study's final chapters: Is it possible to move the current public's affects and passions, living in a society so far apart from the early-modern one, both conceptually and psychologically? As an answer, she chooses late 20i,z century artists who, using different means, achieve similar goals as those attained by the classical masters of rhetoric, by the authors of the baroque plays and by the early composers and librettists of the proto-operatic dramas. Some of these are the videoartists B. Viola and Nam June Paik, the stage director P. Sellars and the group La Fura dels Baus. The study's last section operates as a foreword for the present economic crisis. In view of the economic difficulties many theatres -including opera theatres- are currently encountering, Diaz Marroquin wonders whether the practice of performing repertoires created centuries ago may still achieve coherence on the 21st century stage. She concludes that the key lies in the controversial field of memory. This concept may be understood in the classical sense, as one of the cannons of rhetoric, but also in the mnemonic, in the historical one and, over all, as the affective memory described in treatises on dramatic technique such as Garcia's or, later on, Stanislavski's. As she affirms, "[La] memoria estetiza la experiencia personal y, superadas las fases de dolor en el acceso a determinadas zonas, se la ofrece, fertilizada, a la interpretación dramática" (p. 297). Human beings, no matter whether we live within the limits characterizing the pre-Romantic subjectivity or beyond them, seem to experience similar patterns of thought and emotion, although our circumstances may be different according to the diverse power schemes we live in. Analyzing the pre-Romantic emotion, therefore, implies identifying these circumstances and translating them to codes intelligible to the 21st century reader and performer. Diaz Marroquin's La retórica de los afectos operates as this kind of translation: A lucid, lively and critical travel across the at times tortuous, but always fascinating territories of reason and emotion. Aurelia Pessarrodona Universitd di Bologna, Fundación Española para la Ciencia i/ la Tecnología. Christopher Lyle Johnstone, Listening to the Logos: Speech and the Coming of Wisdom in Ancient Greece. Columbia: University of South Carolina Press, 2009. 300 pp. ISBN 978-1-57003-854-9 Christopher Lyle Johnstone's Listening to the Logos: Speech and the Com­ ing of Wisdom in Ancient Greece revisits rhetoric's relationship to philoso­ phy; Johnstone's contribution is to examine this relationship in light of an­ cient notions of wisdom. The book demonstrates that speech will not align neatly with rhetoric nor wisdom with philosophy. Rather Johnstone main­ tains that both rhetoric and philosophy use language to develop different Reviews 125 kinds of wisdom: philosophy leans toward metaphysical or natural wisdom, while rhetoric is inclined toward practical wisdom. Listening to the Logos traces Greek conceptions of wisdom from Homer to Aristotle, emphasizing throughout that wisdom has always relied on logos. Though Johnstone concludes his history of wisdom with Aristotle's tax­ onomy of knowledge, his challenge is to trace sophia and phronesis backwards. Early on Johnstone confronts the problems that attend reading ancient texts. Much of the book, for example, focuses on pre-Socratic nn/thos and logos for which we have only fragmentary sources. However, Johnstone's interpreta­ tions are buttressed by commentaries and secondary sources. He recovers very early notions of sophia, which, he argues, is "a kind of active knowledge or competence that is linked specifically with the practice of a techne, an art or craft" and phronesis is linked to the body, especially the heart (p. 29). Since in these mythopoetic texts sophia and phronesis do not yet suggest their Aristotelian meanings, Johnstone searches for other analogues. Based on his interpretation of narratives, Johnstone concludes that in a mythopoetic worldview "[h]uman wisdom is derivative" and "comes from the gods, who alone can apprehend true justice, who alone can know what the Fates have ordained" (p. 31). People are wise, then, when they understand the gods through history and myth (p. 31); knowledge of the...

Reviews 113 to emergent communities, heretical selves: mystics or Ranters, for instance. Instead, lapses into heretical selfhood are signaled by the emergence of affect, which requires subvention by the inarticulate, as if emotions had to wait for the inchoate in order to appear. For example, as both character and play, Hamlet "foregrounds" the inarticulate as a "cultural construct," as a "means by which 'feeling' could surface," and as a principle of inter-subjective vulnerability (176). Perceiving this counterintuitive pulsion at work, seeing the inarticulate in a "more positive light," requires an exploration of a Tudor "aesthetics of feeling," Mazzio contends (180). Nowhere does she offer such an aesthetics. Rather, she relies on contemporary literary theory for many of her historical arguments, and readers are frequently directed to Eve Sedgwick or Lacan, Jean-Luc Nancy or Hegel in lieu of evidence from the period. Yet The Inarticulate Renaissance succeeds: Mazzio focuses our attention on the suitability of English for worship and ceremony, scripture and poetry, on the fortunes of theatrical mumbling and print polemic, on audiences as 'assemblies,' above all on what Tomkis in Lingua calls a "tunes without sense, words inarticulate." However, in some ways, Mazzio's inquiry is reminiscent of the decline of rhetorical engagement late in the period she studies, of the ways in which past thinkers distrusted rhetoric as a guide to both speech and practice, of the ways oratio was emptied of ratio. In this ambitious, learned work, Mazzio is equally wary: a focus on the inarticulate is symptomatic of distrust. But it also signs a trend in contemporary scholarship. Boredom, ennui, anxiety, and now the inarticulate are experiencing a renaissance, in part because current perceptions of (early) modernity are conditioned by its failures, by its perils not its promises. One promise was transparency—of both method and communication—and 'words inarticulate' court opacity. But as 'feeling' rather than 'telling,' as a rhetoric that develops and refines a deepening commitment to pathos, inarticulation necessarily assumes the eloquence of the age. Stephen Pender University of Windsor Carolyn Eastman, A Nation of Speechifiers: Making an American Public after the Revolution. Chicago: University of Chicago Press, 2009. xi + 290 pp. ISBN 978-0-226-18019-9 Jeremy Engels, Enemyship: Democracy and Counter-Revolution in the Early Republic. East Lansing: Michigan State University Press, 2010. xi + 316 pp. ISBN 9780087013980-2 114 RHETORICA Sandra M. Gustafson, Imagining Deliberative Democracy in the Early American Republic. Chicago: University of Chicago Press, 2011. x + 271 pp. ISBN 978-0-226-31129-6 Jennifer R. Mercieca, Founding Fictions. Tuscaloosa: University of Alabama Press, 2010. xi + 274 pp. ISBN 978-0-8173-1690-7 In 1690, as the Enlightenment was just glimmering on the English hori­ zon, John Locke calumniated rhetoric (Essay Concerning Human Understand­ ing III.10). In 1790, as the Enlightenment's dusk settled over Koenigsberg, Immanuel Kant similarly decried the art (Critique of Pure Judgment 1.53). Though a century and a continent apart, they expressed a common disdain for rhetoric. Notably absent from this account are the American continents. Recent scholarship, however, finds that the American Enlightenment yielded a wealth of innovative rhetorical practice, placing public argument at the heart (or rather in the agora) of healthy democracy. Brian Garsten's Saving Persuasion (2009) exemplifies a now common effort to catalogue the British and European hostility to rhetoric while lauding United States thinkers, such as James Madison, who celebrated free public debate. If the Euro­ pean Enlightenment philosophically counseled, sapere aude, then the Amer­ ican Enlightenment pragmatically retorted disputare aude. Four recent books, two by historians and two by rhetoricians, more fully chronicle this prac­ tical response to the philosophical penchant, a rhetorical contrast with the philosophes' critical Enlightenment. Sandra Gustafson's Imagining Deliberative Democracy in the Early Amer­ ican Republic charts the course of U.S. "deliberative democracy," which "emphasizefs] the political power of language and advancejs] a commit­ ment to dialogue and persuasion as the best means to resolve conflicts and forge a progressive tradition" (220). She highlights dueling conciliatory and prophetic traditions of public address. The conciliatory tradition dominated the United States circa 1815-1835. Paying particular attention to political and pulpit oratory, Gustafson contrasts the Hellenistic William...

Reviews 121 prenda l'esempio del commente a migaeque canorae del v. 322, che Piccolomini glossa idest sonus et tuviitiis verborum tumidorum sine sueco, sine pondere, sine rebus. Lo studioso traduce «vale a dire il suono squillante di parole timide senza sueco, senza peso, senza sostanza» : se da un lato confesso di non comprendere la scelta di «parole timide» per verborum tumidorum (semmai«gonfie, roboanti,» ma si tratta con ogni probabilité di un semplice lapsus che ha indotto a leggere timidorum), dall'altro mi pare ottima la resa di sine rebus con «senza sostanza,» che contribuisce efficacemente a rimarcare 1 importanza che Piccolomini assegnava aile res, corne giustamente anche Refini sottolinea (p. 198, n. 131). Ampliando la prospettiva, si potrebbe affermare corne all'erudito senese sia estranea la possibilité di una poesía caratterizzata da un'autonomia del significante che a priori prescinda da un nesso col significato, e quindi con la realté. Questa prospettiva inizia a manifestarsi nella seconda meté del Cinquecento, quando la distanza tra verba e res si accentua per approdare poi al concettismo barocco. L'Apparato critico (pp. 217-219), un intéressante corredo di tavole (tra cui, alie pp. 222-223, uno specimen del manoscritto senese del commento oraziano), gli ludid e una ricca bibliografía concludono molto degnamente un ricco volume che, a parte qualche imprecisione e forse la tendenza (del resto típica delle tesi di laurea) a ribadire i concetti in modo talora eccessivamente analítico, si caratterizza per notevole dottrina, rigore critico e maturité di giudizio. Sergio Audano Chiavari. Italy Lucía Díaz Marroquin, La retórica de los afectos (Estudios de Literatura 110, De Música 13), Kassel: Reichenberger, 2008. 298 pp. ISBN 9783 -937734-59-0 The relationship between emotion and reason has fluctuated consistently within the Western-European territories, traditions and cultural identities. The same tension applies to the one existing between the realms of pathos and ethos. Ever since the Platonic dualism soul/body was inherited and as­ similated by the early-modern humanists, their dilemma used to consist in finding the conceptual and physical loci where the phenomenon of emotion takes place. One of this search's objectives is achieving the perfect synchro­ nization of the human spirit with the biological, visceral and even animal spheres configuring the masculine and the feminine natures. This provokes rhetorical and poetic consequences which, in the course of history, have often received severe moral condemnation. In the 21st century, emotions are generally perceived and evoked ac­ cording to psychoanalytic and post-structuralist viewpoints, deriving from Romantic perspectives which are still in force. This may lead us to forget 122 RHETORICA the sophisticated code inherited from the Platonic, Aristotelian, Galenic, and even the pseudo-Hermetic traditions which used to frame the expression of emotion before the Romanticism. Diaz Marroquin's La retórica de los afectos offers the keys necessary to understand the performance of emotion -affects, passions- within the con­ text of the Renaissance and Baroque Europe, the unmediated cultural heir of the Greek and Latin Antiquity In her own words: "Este trabajo pretende describir la noción humanista de la teoría de los afectos de ascendencia aris­ totélica y, remotamente, también hermética, desde el punto de vista de la retórica textual, de la tratadística musical y de las convenciones gestuales." (p.10). The starting point is, therefore, the actio. Diaz Marroquin's book is a detailed, systematic and interdisciplinary study on the rhetorical delivery, aiming particularly at the description of the means used by actors and protooperatic singers performing early-modern dramas. One of its strengths, in fact, consists in analyzing the vocal technique and the emotional resources a performer could employ at times prior to the generalization of the first treatises on dramatic and vocal practice. The study's approach is critical, polyhedral and eminently practical. The concepts of voice and gesture are described as the means of transmission for the emotional word, which has to do with the author's many-sided profile as an academic (philologist and musicologist) and performer (mezzosoprano). Only someone who has experienced and practiced the operatic vocal emis­ sion could identify and analyze in such...

Relying heavily on Michel Foucault's discussions of meaning-making artifacts and Cheryl Glenn's 2004 book-length work on silence, this essay places Kingston in the context of post-structuralism while also emphasizing that her “silent” form reflects the culture and power structure within which her characters live and from which Kingston comes. Kingston's The Woman Warrior expresses silence in three distinct ways: suppression by self-restraint, suppression by force, and suppression in translation. Using these three avenues of exploration, I argue that rhetorical theorists must address the silence(d) parts of language exchange in order to create fuller understandings of the meaning-making attributes of signified language use and as a means of reducing the privilege of the spoken/written. A re-exploration of a previously discussed text such as Kingston's is relevant to provide insight into this newly rejuvenated conversation about silence in rhetorical play.

Other| November 01 2012 Index to Volume 30 (2012) Rhetorica (2012) 30 (4): 461–465. https://doi.org/10.1525/rh.2012.30.4.461 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Index to Volume 30 (2012). Rhetorica 1 November 2012; 30 (4): 461–465. doi: https://doi.org/10.1525/rh.2012.30.4.461 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

This essay introduces Lű's Annals (Lűshi chunqiu), a classical Chinese text with a wealth of material on rhetoric. Not only does the text evaluate numerous examples of persuasion and sophistry, it also lays out a system of rhetorical precepts grounded in a distinctive ontology, that of correlative cosmology. After outlining the cosmology, epistemology, and theory of language of Lű's Annals, I trace how these shape its rhetorical theory and practices. I then consider how the text itself works as a persuasive artifact in the light of its own strictures. The essay closes with some reflections on why this valuable resource for Classical Chinese rhetoric has been neglected.

Many modern scholars have studied in detail the phenomenon of vividness (gr. ἐνάργεıα; lat. evidentia) in ancient rhetorical texts; however, they have neglected to examine two important testimonies included in an Ars rhetorica ascribed to Dionysius of Halicarnassus, but in fact to be ascribed to an anonymous rhetorician who probably lived in the third century AD. In these two passages the anonymous rhetorician faces some issues concerning the stylistic evidence that have not been previously studied. He analyzes the relationship between the vividness of the text and the use of everyday language, aimed to enhance realistic effects of discourse. This paper aims to present a detailed analysis of the comments offered by the anonymous rhetorician, that will help to define some peculiar aspects of stylistic vividness of the language in discourse.

Other| November 01 2012 Addresses of Contributors to this Issue Rhetorica (2012) 30 (4): 466–468. https://doi.org/10.1525/rh.2012.30.4.466 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Addresses of Contributors to this Issue. Rhetorica 1 November 2012; 30 (4): 466–468. doi: https://doi.org/10.1525/rh.2012.30.4.466 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: Classical Greek Rhetorical Theory and the Disciplining of Discourse, by David M. Timmerman and Edward Schiappa David M. Timmerman and Edward Schiappa. Classical Greek Rhetorical Theory and the Disciplining of Discourse. Cambridge: Cambridge University Press, 2010. 192 pp. ISBN 9780521195188 Rhetorica (2012) 30 (4): 457–460. https://doi.org/10.1525/rh.2012.30.4.457 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Classical Greek Rhetorical Theory and the Disciplining of Discourse, by David M. Timmerman and Edward Schiappa. Rhetorica 1 November 2012; 30 (4): 457–460. doi: https://doi.org/10.1525/rh.2012.30.4.457 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: The Art of Eloquence: Byron, Dickens, Tennyson, Joyce, by Matthew Bevis Matthew Bevis, The Art of Eloquence: Byron, Dickens, Tennyson, Joyce. Oxford: Oxford University Press, 2007. 302 pp. ISBN: 9780199593224 Rhetorica (2012) 30 (4): 433–436. https://doi.org/10.1525/rh.2012.30.4.433 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: The Art of Eloquence: Byron, Dickens, Tennyson, Joyce, by Matthew Bevis. Rhetorica 1 November 2012; 30 (4): 433–436. doi: https://doi.org/10.1525/rh.2012.30.4.433 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: Abusive Mouths in Classical Athens, by Nancy Worman Nancy Worman, Abusive Mouths in Classical Athens. Cambridge: Cambridge University Press, 2008. 385 + xii pp. ISBN 9780521857871. Rhetorica (2012) 30 (4): 451–454. https://doi.org/10.1525/rh.2012.30.4.451 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: Abusive Mouths in Classical Athens, by Nancy Worman. Rhetorica 1 November 2012; 30 (4): 451–454. doi: https://doi.org/10.1525/rh.2012.30.4.451 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: Chiastic Designs in English Literature from Sidney to Shakespeare, by William E. Engel William E. Engel, Chiastic Designs in English Literature from Sidney to Shakespeare, (Burlington, Ashgate Publishing, 2009), 158 pp. ISBN: 9780754666363 Rhetorica (2012) 30 (4): 448–450. https://doi.org/10.1525/rh.2012.30.4.448 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Review: Chiastic Designs in English Literature from Sidney to Shakespeare, by William E. Engel. Rhetorica 1 November 2012; 30 (4): 448–450. doi: https://doi.org/10.1525/rh.2012.30.4.448 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: Preaching the Inward Light: Early Quaker Rhetoric (Studies in Rhetoric and Religion 9), by Graves, Michael Graves, Michael. Preaching the Inward Light: Early Quaker Rhetoric (Studies in Rhetoric and Religion 9). Waco: Baylor University Press, 2009. 450 pp. ISBN: 9781602582408 Rhetorica (2012) 30 (4): 445–447. https://doi.org/10.1525/rh.2012.30.4.445 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: Preaching the Inward Light: Early Quaker Rhetoric (Studies in Rhetoric and Religion 9), by Graves, Michael. Rhetorica 1 November 2012; 30 (4): 445–447. doi: https://doi.org/10.1525/rh.2012.30.4.445 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| November 01 2012 Review: Institutio Oratoria. Bacon, Descartes, Hobbes, Spinoza, by Jan Rothkamm Jan Rothkamm, Institutio Oratoria. Bacon, Descartes, Hobbes, Spinoza, Leiden: Brill 2009, 539 pp. ISBN: 9789004173286 Rhetorica (2012) 30 (4): 436–439. https://doi.org/10.1525/rh.2012.30.4.436 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Institutio Oratoria. Bacon, Descartes, Hobbes, Spinoza, by Jan Rothkamm. Rhetorica 1 November 2012; 30 (4): 436–439. doi: https://doi.org/10.1525/rh.2012.30.4.436 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Reviews 457 Disagreements are often treated as differing appearances or perspectives on a singular reality (after Perelman and Obrechts-Tyteka, for example) or as prompts for the invention of an agreement or unity to come. However, building on Canpanton's example, Dolgopolski's work develops a sustained and insightful construction of what might be termed Talmudic rationalism where the ontological entailments of expressions are drawn from the careful and charitable articulation of disagreements. As such, What is Talmud? is an important new contribution to the study of rhetoric. In addition, What is Talmud? is a necessary reorientation and elaboration on current studies of Rabbinic discourse and textuality, which has been dominated by praise for Rabbinic tolerance and appreciation of polysemy. What is Talmud? puts on the table the possibility that in accepting the Talmud as the historical anchor (if not the core symbol) for an appreciation of polysemy and multiple truths, we have done so at the expense of Talmudic understandings of disagreement. David Metzger Old Dominion University (Norfolk, Virginia) David M. Timmerman and Edward Schiappa. Classical Greek Rhetor­ ical Theory and the Disciplining of Discourse. Cambridge: Cambridge University Press, 2010. 192 pp. ISBN 9780521195188 Traditional accounts of rhetoric's emergence in fifth-century Greece have encountered many recent challenges and revisions. Among these challenges, Edward Schiappa's prolific scholarship on classical rhetoric has always been exceptional. In this vein, Schiappa has long argued for the importance of a later origin of rhetoric as a distinct discipline than has been presumed. It arose as a discipline, that is - something that could be studied - he says, in the fourth-century in the wake of Plato's invention of the term rhetorike. This latest volume, coauthored with David Timmerman, continues to provoke the reader to question accepted rhetorical histories and is located well within the scholarly trajectory of Schiappa's earlier work, in particular, the Beginnings of Rhetorical Theory in Classical Greece (New Haven: Yale University Press, 1999). However, by emphasizing the role of "terms of art," Classical Greek Rhetorical Theory and the Disciplining of Discourse adds a refined focus on discourse in the formation of rhetoric as a discipline. Timmerman and Schiappa explain "terms of art as bits and pieces of disciplinary jargon that have "specialized denotative functions" (p.l) for those within a distinct knowledge community. Their introductory chapter provides a nuanced theoretical and historical explanation of such terms in the context of the history of rhetoric. The authors contend that the emergence of this kind of technical vocabulary is evidence of the expansion of the available "semantic field" and of corresponding "conceptual possibilities" (p. 6) available to rhetorical practitioners. Terms of art, in this way, are a 458 RHETORICA fundamental marker of discrete knowledge communities (i.e. disciplines). Consequently, they shape "the pedagogical, political and intellectual goals of rhetorical theory" (p. 2). Rather than simply revealing the historical importance of terms of art, however, Timmerman and Schiappa endeavor also to make a "methodological intervention" in the field of history of rhetoric (p. 171). They contend that the use of terms of art as an analytic framework has the advantage of shifting "our focus to the relevant pedagogical and theoretical texts to examine how the relevant terms ... are employed in those texts" (p. 172). The origin of rhetorike as a term in the fourth century (rather than fifth) has even further implication, for the authors, when understood in this light. In this context, Rhetorike is not merely Platonic shorthand, but an essential component in the technical development of the entire rhetorical knowledge community. The book takes up a variety of case studies that are united by their focus on terms of art. The first of these studies concerns dialegesthai (dialogue or dialectic) and its assorted meanings. In considering these variations, Timmerman and Schiappa demonstrate the ways in which words can be contested in technical contexts as terms of art. By synthesizing and analyzing the philological evidence, the authors contend a sophistic conception of dialegesthai was an established term of art for the Athenian intelligentsia. Thus, Plato's refinement of the term into what we understand as dialectic challenges this earlier technical usage. Parsing the similarities and differences that emerge in...

This essay introduces Lű's Annals (Lűshi chunqiu), a classical Chinese text with a wealth of material on rhetoric. Not only does the text evaluate numerous examples of persuasion and sophistry, it also lays out a system of rhetorical precepts grounded in a distinctive ontology, that of correlative cosmology. After outlining the cosmology, epistemology, and theory of language of Lű's Annals, I trace how these shape its rhetorical theory and practices. I then consider how the text itself works as a persuasive artifact in the light of its own strictures. The essay closes with some reflections on why this valuable resource for Classical Chinese rhetoric has been neglected.

Reviews 445 Lancelot en pi ose, la polémique est muselée par les stratégies narratives et une volonté d'édification chrétienne : les opposants à la cour d'Arthur ne reçoivent pour seule réponse qu'une fin exemplaire. Pour le cheik Al-Ansari et son admirateur enthousiaste, la vérité révélée n'a rien d'une fiction. Tant que les points de vue avancés admettent la contradiction et que le débat est permis, même dans ses formes les plus agressives, l'analyse rhétorique reste un outil d'interprétation privilégié pour démystifier le discours polémique. Elle permet en outre à certains contributeurs, comme R. Micheli, Th. Her­ man, E. De Jonge, ainsi qu'aux directeurs de l'ouvrage, de proposer des hypothèses nouvelles et pertinentes qui pourront servir de jalons pour de futures recherches dans deux domaines, celui du rhétorique et du polémique, qui sont intimement liés autour du sens du combat. Benoît Sans Université Libre de Bruxelles Graves, Michael. Preaching the Inward Light: Early Quaker Rhetoric (Studies in Rhetoric and Religion 9). Waco: Baylor University Press, 2009. 450 pp. ISBN: 9781602582408 Given the challenges of working with early Quaker sermons, it's not surprising that there is relatively little work on Quaker rhetoric. Unlike the Puritans, who seemed to suffer from graphomania, early Quakers believed in impromptu preaching which means that there is a paucity of source mate­ rial for historians of rhetoric. Perhaps more troubling, early Quaker sermons were often printed by non-Quaker publishers and questions about their authenticity often arise. In Preaching the Inward Light: Early Quaker Rhetoric Graves does an admirable job working with the corpus of seventy-nine surviving Quaker sermons, situating them within a reconstruction of early Quaker theology, rhetorical theory, and die emerging transatlantic printculture . Indeed, this work needs to be read as straddling Quaker studies and the history of rhetoric as Graves speaks to both groups of scholars through­ out. For that effort alone, this work deserves special attention. Despite this achievement or perhaps because of it, this reviewer has some concerns about Graves's otherwise excellent work. Graves has long been immersed in the literature of early Quakerism and, to his credit as a craftsman, this work establishes a mastery of archival material that is rare even in the best scholarship. This study of early Quaker rhetoric fills a number of important gaps in our historical knowledge. For example, in his discussion of Robert Barclay (1648-1690), one of the most important early Quaker intellectuals, Graves claims that Barclay s under­ standing of preaching is derived from a very different model of faculty psychology from both Bacon who preceded him and Campbell who came after, which he claims is closer to modern brain science than either (pp· 446 RHETORICA 115-116). Leaving aside the questionable relationship between early modern homiletic theory and postmodern science, Graves's argument suggests that faculty psychology is far more complex and varied than many traditional his­ tories allow. Furthermore, his reconstruction of Quaker impromptu speaking theory can and should provide a guide for other scholars interested in the impromptu sermon, a genre of considerable importance in America's Great Awakening and subsequent religious revivals. The craftsmanship of this book is impressive. According Graves's on­ line profile, this work is the product of nearly forty years of research and one can detect the expertise that has gone into every footnote. Alongside the twelve analytic chapters and epilogue are the complete texts of four surviv­ ing Quaker sermons, five appendixes which examine the remaining corpus of seventeenth-century Quaker sermons, a very thorough bibliography of Quaker studies and three indices. The book is divided into four sections, each focuses on different levels of analysis and context necessary for under­ standing Quaker rhetoric. It begins with an overview of seventeenth-century rhetoric, continues with an analysis of the evolution of Quaker impromptu preaching theory, and proceeds to an examination of all seventy-nine surviv­ ing Quaker sermons and then ends with an analysis of works by key Quaker figures including Fox, Crisp, Barclay and Penn. Historians of rhetoric will likely...

Many modern scholars have studied in detail the phenomenon of vividness (gr. ἐνάργεια; lat. evidentia) in ancient rhetorical texts; however, they have neglected to examine two important testimonies included in an Ars rhetorica ascribed to Dionysius of Halicarnassus, but in fact to be ascribed to an anonymous rhetorician who probably lived in the third century AD.

Reviews Matthew Bevis, The Art of Eloquence: Byron, Dickens, Tennyson, Joyce. Oxford: Oxford University Press, 2007. 302 pp. ISBN: 9780199593224 Heirs of the post-Enlightenment separation of ''literature" from "rhetor­ ic are likely to find the colon of Matthew Bevis's title paradoxical. Professors of "The Art of Eloquence" will not anticipate the list of nineteenth- and early twentieth-century poets and novelists that follow the colon. Professors of literature will recognize the list of writers but wonder how these literary authors have become identified with rhetoric. The separation of these dis­ ciplines, after all, turns upon a view of that period in which the emergence of the category of the aesthetic warrants separate twentieth-century specialties to study "literature" and oratory. No book I have read since Jeffrey Walker's Rhetoric cud Poetics in Antiquity does more to trouble that separation than this one, for Bevis shows not only that all these literary writers were deeply engaged by the oratory of their moments but also that their literary work might best be understood as itself both a kind of rhetoric and a criticism of rhetoric. The literary texts come into clearer focus when read as responses to the rhetoric of their times, and the oratory reveals its powers and limitations when re-presented in the less exigent reflection of poems and novels. Specialist scholars have noted in passing these writers' interests in orators of their day, but Bevis convincingly makes these interests central to the style and substance of their works. Byron was an MP engaged by the rhetoric of Burke and Sheridan as well as the parliamentary conflicts of his time. Dickens, who started as a parliamentary reporter, engaged the radical rhetoric of his time and responded especially to the parliamentary rhetoric of Bulwer-Lytton. Tennyson, a public poet in his role as Laureate, followed current parliamentary debates and engaged in extended dialogue with Gladstone. Joyce was imbued with and responsive to the rhetoric of Parnell and more radical Irish nationalists. These engagements, Bevis shows, were not incidental but formative and sustaining, making it problematic to read these writers in aesthetic isolation from them. Our recent historicisms in literary studies might well have captured some of these relationships in order to debunk the purported autonomy of the aesthetic and reassert the political investments of art, but Bevis pursues a different line of argument. He works instead to recuperate the aesthetic as a Rhetorica, Vol. XXX, Issue 4, pp. 433-468, ISSN 0734-8584, electronic ISSN 15338541 . ©2012 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press s Rights and Permissions website, at http://www.ucpressjournals.com/reprintlnfo.asp. DOI: 10.1525/RH.2012.30.4.433. 434 RHETORICA kind of rhetoric that both responds to the immediate appeal of the rhetoric it represents and makes that rhetoric available for reflective criticism and political amelioration. Although the "art" of his title is not the Aristotelian techne oriented toward persuasion but the Kantian work of art engaged in imaginative free play, he argues that we mightfocus on how writers negotiate contending political demands in and through their work, and on how the literary arena can be considered one in which political questions are raised, entertained, and tested—not only decided or 'settled'. The conflicts and divided loyalties embodied in this arena need not be construed as merely impracticable or disingenuous hedging ofbets. They might also be seen as models of responsible political conduct, for their willingness to engage with multiple and sometimes contradictory values can prepare the groundfor a richer political response, (pp. 8-9) He sets out to redeem and apply to the work of literary art the muchmaligned Arnoldian term "disinterestedness" recapturing it from its association with a "retreat into an autotelic aesthetic realm" to link it instead with the sophistic principle of in ntramqne partem (p. 10). Following Adorno, he argues that "disinterestedness is achieved not in spite, but because, of an attentiveness to other points of view. Disinterestedness stays interested even as it seeks to resist certain forms of interest, and this resistance is...

Relying heavily on Michel Foucault's discussions of meaning-making artifacts and Cheryl Glenn's 2004 book-length work on silence, this essay places Kingston in the context of post-structuralism while also emphasizing that her "silent" form reflects the culture and power structure within which her characters live and from which Kingston comes. Kingston's The Woman Warrior expresses silence in three distinct ways: suppression by self-restraint, suppression by force, and suppression in translation. Using these three avenues of exploration, I argue that rhetorical theorists must address the silence(d) parts of language exchange in order to create fuller understandings of the meaning-making attributes of signified language use and as a means of reducing the privilege of the spoken/written. A re-exploration of a previously discussed text such as Kingston's is relevant to provide insight into this newly rejuvenated conversation about silence in rhetorical play.

Reviews 451 Nancy Worman, Abusive Mouths in Classical Athens. Cambridge: Cam­ bridge University Press, 2008. 385 + xii pp. ISBN 9780521857871. Insult and character assassination have a long and entertaining history in the annals of rhetoric. Not only do they generate theoretical meditation but they can provide scholars and amateurs alike with the guilty (and for Aristotle, vulgar) pleasures of nicely turned invective. Nancy Worman's fascinating study allows classicists and those with more general interests in ancient rhetorical forms to follow patterns of defamation from Homer and the beginnings of preserved Greek literature to Aristotle and Theophrastus at the end of the fourth century B.C.E. Of the two possibilities adumbrated above, her work facilitates the austere rewards of the theoretical rather than enjoy­ able indulgence in multiple examples of splenetic venting. For the latter one might settle down with Thomas Conley's Toward a Rhetoric ofInsult (Chicago 2010), which, in addition to quotation of virtuosic and delectable passages of invective (starting with Cicero and proceeding through the Flugschriften of the Reformation to end with Monty Python and modern political cartoons), does a useful job in sketching multiple patterns of defamatory language and specifying the factors that constrain their operation. Conley surveys how slurs connected with social status, gender, ethnicity, sexual habits, and the practices of eating and drinking (among others) recur in multiple cultures. He is interested in how invective can be used to create group identity through assertion of communal values, but also in the use of insult to interrogate per­ ceived hierarchies. This generalist orientation makes the book a valuable introduction to the invective mode, and thus, coincidentally, an interest­ ing counterpart to Worman's specialist study. W. carefully maps out how a discourse of abuse developed around public and professional speakers in Classical Greece. This discourse was rooted in practices of commensality associated with banquet and symposium, and was further extended in drama, until it became part of the rhetorical arsenal in the public oratory of Demosthenes and Aeschines. W.'s narrative of a gradual elaboration of a critique of public speaking and the move of this critique into ancient oratory make this an important book. The body of the book is divided into six chapters, charting the devel­ opment of an iambic discourse ranging over a variety of genres. W. uses the ideas of Bourdieu, Bakhtin, and Barthes to trace the operations of social performance and figuration in invective, relying in particular on a central notion of metonymy, so that the mouth acts as an emblem (Barthes' "blazon") of behavioral excess. After a scene-setting introduction, Chapter 1 looks at iambic literature in Archaic Greek epic, lyric, and Classical tragedy, where the language of invective is deployed to regulate excess and is regularly as­ sociated with ravenous mouths and dangerous types of consumption. Thus we encounter rapacious and aggressive kings (Agamemnon in Homer is a people-eating king," 29), harsh talk connected with (potentially cannibal­ istic) battlefield savagery, and clever speaking conceived as a trade-off for food. Greed leads both to uncontrolled aggressive speech and sly rhetorical 452 RHETORICA manipulation. These two possibilities will crystallize throughout the course of the book into two broad and recurring types: on the one hand the braggart and voracious politician characterized by crude consumption, and on the other the decadent and manipulative sophist. Chapter 2 explicitly juxtaposes these two types: voracious demagogues are set against glib, effete, and decadent sophists in the comedies of Aristo­ phanes, where "male protagonists engage the culinary as the primary metaphorical register in relation to the regulation of the appetites" (81). No accident, then, that the figure of the comic butcher or cook (mageiros) also becomes prominent. Whether effete or a braggart, an excessive speaker can be imagined as one who cooks up feasts of (deceptive) speech. Yet Worman also complicates (fruitfully) her model by considering how her types are measured against female appetites. In Greek comedy, women are cautionary models for men in their desires for sex, food, and wine; thus the prattling and decadent speaker is also feminized. Sexual appetite becomes an impor­ tant factor in the figuration of public speaking, not only in terms of female desire, but also...

436 RHETORICA with are the values advocated by partisans in the public discourse of the writers' polities. The work of literature is to re-present the speech of that discourse at some distance from the exigencies of decision that it responds to and attempts to create, in the cooler, more contemplative medium of writing that "wards off the decisiveness of the tongue ... and asks us to try out its words on our tongues, so that we might develop our sense of what is at stake in the process of our decision making" (p. 265). Shifting our position in literary eloquence from that of the judge listening to the calls of deliberative or forensic arguments to decide now, we would step back to the epideictic position of the theoros, critical observer, witnessing the representation of conflicting claims without an immediate call to choose, reflecting on those representations, and taking them to heart in a way that might shape our future decisions. Bevis not only rhetoricizes the principles of New Criticism; he also exemplifies a practice of close reading that brings to the fore his authors' ambivalent responses to the public oratory of their times and links their formal devices to their rhetorical criticism. New Critical preferences for ambiguity and indirection and indecision in literature return but with a crucial difference. Sometimes the only way to voice a sufficiently complex attitude is to say two things at once; sometimes an alternative meaning can only shadow the words that declare something else; sometimes the only way to suspend unreflective calls to decision to resort to aporia—that shibboleth of the deconstructive variant of New Criticism. Professors of rhetoric and of literature have much to learn from Bevis's rhetorical criticism and from the rhetorical criticism in the literary texts he explicates. They are well worth working with and, to cite a phrase Bevis cites from Empson, well worth "working out." Don Bialostosky University of Pittsburgh Jan Rothkamm, Institutio Oratorio. Bacon, Descartes, Hobbes, Spinoza, Leiden: Brill 2009, 539 pp. ISBN: 9789004173286 The idea that rhetoric since the time of Plato has been foreign to philoso­ phy is antiquated today. Philosophy isn't aiming at empirical knowledge but providing certain conceptual distinctions by means of elucidations, which are introduced with the help of tropes and figures. An important question is how early modern philosophers reflected on the rhetorical use of language Reviews 437 to express their ideas. The book answers this question with respect to Bacon, Hobbes, Descartes and Spinoza, who appear successively on the philosophi­ cal scene in the short period from 1561 to 1679, as is shown in the instructive svnchronopsis". It was only natural that Bacon used the study of style to demonstrate his high level of education. Not originality, but familiarity with established values was a commonly accepted measure of skill. In order to adhere to good style, Descartes relied on the counsel of a rhetorician like Aemilius. At the same time Latin wasn't completely unchallenged as the one and only language of the educated anymore. Especially French proved to be an exceedingly serious competitor to the ancient languages. Spinoza's in part deliberately idiosyncratic use of Latin wasn't necessarily seen as a defect of his texts. Like many modern scientists, he committed himself to the ideal of the autonomous thinker and not of the educated reader (p. 364). Thus method is one of the most important fields of hidden effects of rhetoric in early modern philosophy. The most important result of this book is that all these effects of rhetoric are to be understood against the background of education. Bacon was well educated in oratory (p. 85). The influence of Roman rhetoric especially shows where Bacon insists on a balance between indicium and elocutio, logos and pathos, and relies on the efficiency of schemes and precepts. This fits with Bacon's strong inclination against the preference of words above matter in the "schools". The answer to "Aristotelism" had to be a new a conception of rhetoric which was at the same time dwelling on passions and actions. Rhetoric should persuade the hearer to undertake actions. The aim of rhetoric consequently is to "apply Reason to Imagination", enabling "a...

448 RHETORICA William E. Engel, Chiastic Designs in English Literaturefrom Sidney to Shakespeare, (Burlington, Ashgate Publishing, 2009), 158 pp. ISBN: 9780754666363 In his two previous books, Mapping Mortality (1995) and Death and Drama (2002), William Engel explored the role of memory and mnemonics in Renaissance literature. Chiastic Designs in English Literature from Sidney to Shakespeare is an extension of Engel's previous interests, but his project for this study focuses on +he "meaning underlying and motivating the persistence and transformations of chiasmus in the Renaissance" (12). Engel extends chiasmus beyond the classic crossing rhetorical structure and uses the category of "chiastic design" to talk about moments of echoing and doubling in the larger structural design of renaissance texts. In shifting the scale of chiasmus to consider the larger patterning of textual features Engel pushes the parameters of chiasmus as a rhetorical device to consider it as a larger rhetorical strategy. Engel argues that these larger chiastic patterns can be read as a technique for creating a type of intratextual reflexivity, or echoing about the action of the text, as well as prompting the reader to be reflective about their own experience encountering the text. In his second chapter Engel explores how situating mythical figures can be an example of chiastic design. One of the strongest offerings in this chapter is Engel's unpacking the figure of David within renaissance "allegorical imagination". Engel's intervention directs us to interrogate in novel ways the figure as not merely a reference, but rather a whole system of doubled meanings and crossings that are tied to David's struggles with his own imperfect humanity and sense of justice. The effect of these doubled inflections of idealized justice and human frailty prompt, according to Engel, nuanced philosophical reflection. This is achieved textually through points of conflict and consilience repeatedly being re-situated in relation to one another through echoes, crossings, and mirroring. To ground this assertion Engel offers a sustained treatment of the figure of David in Quarles's Divine Fancies as an illustration of a "poetics of interiority" that is based on moments that prompt the reader to look back on the action of the poem cycle. The effect of this doubling back is a layering of the situated complexity of David's experiences, both past and current to the action of the poem. The chiastic doubling of David's progress within the poem directly ties to the ars memorativa where mnemonics, like chiasmus, prompt the reflection necessary to create the connections between experience and knowledge. Engel also claims that the reader has a parallel meditative journey that is directly linked to the recursive consideration of the poem's action. In effect both David and the reader are guided through a reflexive understanding of justice, and their own fallibility, through Quarles's larger structural use of chiasmus. Engel dedicated the next chapter to the role of chiasmus in Sidney's Arcadia. By focusing on Sidney's use of architectonic chiasmus Engel aims to support his assertion that Sidney, and renaissance literacy circles more broadly, considered the symbolic to be explicitly connected to the principles Reviews 449 of ars memorativa. With this in mind, Engel aims to demonstrate that in Sid­ ney's poem chiasmus is technique that creates an ethos of loss and absence. In shifting his critical agenda regarding chiasmus away from reflective en­ gagement and towards the rhetorical processes of scaffolding an affective memory, Engel demonstrates the dexterity of chasimic design to achieve different rhetorical ends. Engel's treatment of Sidney's Arcadia traces out the poem's mnemonic framework and argues that Sidney's choice to restructure the poem was an authorial re-direction to structurally highlight an ethos of pervasive loss and searching that undergird the plot. Chiasmus in this context crosses back to demonstrate a perpetual lack or uncertainty, rather than the accretion of experience or knowledge as seen in Quarles. Engel argues that Sidney strategically created "echoes" between the eclogues and the main narrative to underscore the sense of searching that not only sup­ ports the hunt for love that the characters on all levels of the narrative are experiencing, but also prompts the reader to become psychologically...

Reviews 439 century (p. 517). Can we also conclude that classical early modern philos­ ophy did contain a (hidden) philosophy or philosophies of rhetoric in the sense of attempts to justify rhetoric? This question is important, especially with respect to Descartes and Spinoza. The answer must be negative. The results clearly show that rhetoric does not contribute to the meaning of signs in the work of these authors. Only Bacon, who grew up under nearly ideal circumstances with respect to humanist education and rhetoric, arrives at something like a philosophical theory of rhetoric. To a much lesser extend, this can still be said with respect to Hobbes, who is much more than Bacon a critic of rhetoric, but still in search of an new rhetoric. In Descartes and Spinoza we still find rhetorical education and many reflections on rhetoric (it is one of the great merits of this book to have shown this). At the same time they were convinced that rhetoric constrains the expressive power of language. The conclusion must be that the way the early modern thinkers distinguish between res and verbiuu prevents them from providing a pow­ erful theory of meaning which is the cornerstone of a philosophy of rhetoric. Not a prejudice against rhetoric, but the idea that language only provides a deficient expression of thought proves to be inconsistent with the very idea of a philosophy of rhetoric. In Descartes and Spinoza these effects are enforced by the rationalist assumption that thought is a sphere of reality to which the mind has access independently of linguistic expressions. This book thus proves to be a strong contribution to the literature. Rothkamm enables us to see the real limitations of early modern rationalism with respect to rhetoric much clearer than before. Temilo van Zantwijk Friedrich-Schiller-Universitat Jena Christopher D. Johnson, Hyperboles: The Rhetoric of Excess in Baroque Literature and Thought. Cambridge: Harvard Studies in Comparative Lit­ erature, 2010. 695 pp. ISBN: 9780674053335 According to Christopher Johnson the hyperbole is the "most infamous of tropes, whose name most literary criticism does not praise, and whose existence the history of philosophy largely ignores" (1). As a result of this neglect "no full-scale defense has been made of the Baroque's most Baroque figure. This book aims to remedy that lack" (16). And what a remedy it is. To say that this is a study on a grand scale is certainly not hyperbolic. In nearly 700 pages Johnson "moves from the history of rhetoric to the extravagances of lyric and then through the impossibilities of drama and the aporias of philosophy" (521). The grand scope of Hyperboles is made necessary by the protean role of hyperbole in discourse: "as a discursive figure integral to the success of classical and Renaissance epic, Shakespearian tragedy, Pascalian apology, as 440 RHETORICA well as the viability of the Cartesian method, it can be narrative, dialogic, or structural" (8). Thus hyperbole is no mere figure of speech but rather, says Johnson, following the lead of Kenneth Burke, it is "a 'master trope,' one that vies with metaphor, metonymy, synecdoche, and irony for our attention (3). Indeed, Burke's approach to the four "master tropes" in A Grammar of Motives might serve as a preview of Johnson's method in Hyperboles. Say Burke: "my primary concern with them here will not be with their purely figurative usage, but with their role in the discovery and description of 'the truth.' It is an evanescent moment that we shall deal with—for not only does the dividing line between tne figurative and the literal usages shift, but also the four trope shift into one another" (Grammar ofMotives, 503). The hyperbole, now rechristened a "master trope" supersedes the merely figurative. It is more than a stylistic device, so much more that at times it is difficult to say what a hyperbole is—or what it is not. It is a figurative element, to be sure, but hyperbole is also an argumentative tech­ nique, an inventional device, a philosophical critique, and ultimately a world view. In establishing the hyperbole a "master trope" Johnson begins with an examination of the place of hyperbole in the rhetorical theory of Aristotle...

454 RHETORICA speakers moved (along with a comic lexicon of abuse) from drama to oratory, surfacing also in the Platonic dialogue (although ignored for the most part by Aristotle) and proliferating in Theophrastus. Although for the sake of clarity I have focused in this review on the central opposition between the aggressive versus and the weak and decadent speaker, W. is clear that these two types exist at opposite ends of a continuum and that characteristics of one type can slide into another. Particularly welcome is her insistence that the iambic mode transcends genre. This enables her to make wideranging and successful connections between comedy, satyr play, tragedy, philosophy, and forensic rhetoric. One of the pleasures of the book is to trace the various instantiations of the paradoxical figure of Socrates from Aristophanes to Plato and Theophrastus. Socrates does not occur explicitly in the last of these, but the cumulative force of W.'s analysis compels the reader to give serious consideration to her suggestion that he is a shadowy presence in several of Theophrastus7 caricatures, the product of "a tradition of characterization that wittily assimilates to intemperate types a teacher who used his famous recalcitrance to disparage and tease haughty, boastful elites" (317). Individual readers will, of course, find places where they could desire reformulation or areas where further questions arise. I, for example, am not entirely comfortable with the contention (22) that Plato adopted the language of insult from dramatic genres—this seems to me to be perhaps an overly reductive way of formulating a process that was surely more complex. This leads in turn to problems about how informal practices of insult bleed into and from the rhetoricized versions we find in our literary texts (a reading of the treatment of invective found in Plato's Laws 934-936 would be useful here). Yet it is no insult to suggest that the book presents opportunities for future reflection; some discomfort is a small price to pay for such thoughtful and productive work. Kathryn A. Morgan University of California at Los Angeles Sergey Dolgopolski. What is Talmud? The Art of Disagreement. New York: Fordham University Press, 2009. xii + 333 pp. ISBN: 9780823229345 This book joins an increasing body of work devoted to the study of Jewish discourse. The study of Jewish rhetoric has found a place in the work of rhetoric and composition scholars who are turning their attention to the subject of non-Western or alternative rhetorics (Carol Lipson and Roberta Binkley's Ancient Non-Greek Rhetorics), as well as scholars who imagine that the conceptual integrity of the notion "Jewish perspectives" can be coherently expressed as a book (Andrea Greenbaum and Deborah Holstein's Jewish Perspectives in Rhetoric and Composition). What is Talmud? Reviews 455 also shares a concern with work in Jewish studies devoted to pedagogy (Simcha Assaf), rabbinic literary activity (Daniel Boyarin, Jeffrey Rubenstein, David Stern), historiography (Ismar Schorsch), systematic Hebrew rhetorics (Isaac Rabinowitz, Arthur Lesley) and the hermeneutical activity of textbased communities (Moshe Halbertal). While there are resources enough from which to construct a course on "Jewish discourse," the idea of teaching and studying "Jewish rhetorics" is still problematic inasmuch as there is a sense that organizing the considerable scholarly activity devoted to "Jewish discourse" under the phrase "Jewish rhetorics" is at best an anachronistic projection and, at worst, an act of violent appropriation. One way to avoid the charges of appropriation or anachronism would be to treat "rhetoric" as a set of methodologies that could be productively applied to any "text." The problem with this approach is that often the methodologies that fall under the heading of rhetoric were produced in support of philosophical or historical investigations. For this reason, others have chosen to treat rhetoric as a set of concerns, or even a predisposition to ask certain kinds of questions. The idea of "Jewish rhetorics" might, in that instance as well, avoid the violence of appropriation, but "rhetoric," then runs the risk of simply being another name for something that is being productively and more accurately examined as "discourse" or "literary activity." The concept of "Jewish rhetorics" may encounter some resistance because, in avoiding the charges of anachronism or violence, "Jewish...

As rhetoricians turn increasingly to study non-Western rhetorics, they rely on postcolonial scholarship but sometimes encounter difficulties adapting its key methods—in particular, hybridity. While it is quite clearly a necessary concept for transnational rhetorics, nevertheless its literariness, ubiquity, and vagueness about agency limit its utility In this paper I draw from relevant work in genre studies, sociolinguistics, and social constructivism to propose a new version of hybridity that can take account of hybrid rhetorical forms, account for their agency with audiences, and be accountable to stakeholders in transnational settings where rhetoricians work. I finish by applying this new method to a protestant sermon preached in Mali and noting both the successes and challenges of engaging an accountable notion of hybridity.

Book Review| August 01 2012 Review: Ortensio, by Marco Tullio Cicerone Marco Tullio Cicerone. Ortensio. Testo critico, introduzione, versione e commento a cura di Alberto Grilli: Bologna, Patron, 2010. 272 pp. ISBN: 978-88-555-3086-6. Rhetorica (2012) 30 (3): 316–319. https://doi.org/10.1525/RH.2012.30.3.316 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Ortensio, by Marco Tullio Cicerone. Rhetorica 1 August 2012; 30 (3): 316–319. doi: https://doi.org/10.1525/RH.2012.30.3.316 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2012 Review: [Quintilian], Die Hände der blinden Mutter (Größere Deklamationen, 6), by T. Zinsmaier T. Zinsmaier, [Quintilian], Die Hände der blinden Mutter (Größere Deklamationen, 6), Cassino: Edizioni Università di Cassino, 2009, 281 pp. ISBN: 9788883170775. Rhetorica (2012) 30 (3): 328–331. https://doi.org/10.1525/RH.2012.30.3.328 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: [Quintilian], Die Hände der blinden Mutter (Größere Deklamationen, 6), by T. Zinsmaier. Rhetorica 1 August 2012; 30 (3): 328–331. doi: https://doi.org/10.1525/RH.2012.30.3.328 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2012 Review: Toward a Rhetoric of Insult, by Thomas Conley Thomas Conley, Toward a Rhetoric of Insult, Chicago: Chicago University Press, 2009. 132 pp. Rhetorica (2012) 30 (3): 334–337. https://doi.org/10.1525/RH.2012.30.3.334 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Toward a Rhetoric of Insult, by Thomas Conley. Rhetorica 1 August 2012; 30 (3): 334–337. doi: https://doi.org/10.1525/RH.2012.30.3.334 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2012 Review: The Improbability of Othello: Rhetorical Anthropology and Shakespearean Selfhood, by Joel B. Altman Joel B. Altman, The Improbability of Othello: Rhetorical Anthropology and Shakespearean Selfhood, (Chicago: University of Chicago Press, 2010). 450 pages. Rhetorica (2012) 30 (3): 319–322. https://doi.org/10.1525/RH.2012.30.3.319 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Review: The Improbability of Othello: Rhetorical Anthropology and Shakespearean Selfhood, by Joel B. Altman. Rhetorica 1 August 2012; 30 (3): 319–322. doi: https://doi.org/10.1525/RH.2012.30.3.319 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2012 Review: Reason's Dark Champions: Constructive Strategies of Sophistic Argument, by C. W. Tindale C. W. Tindale, Reason's Dark Champions: Constructive Strategies of Sophistic Argument (Studies in Rhetoric/Communication), The University of South Carolina Press: Columbia, 2010. 184pp. Rhetorica (2012) 30 (3): 323–325. https://doi.org/10.1525/RH.2012.30.3.323 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Review: Reason's Dark Champions: Constructive Strategies of Sophistic Argument, by C. W. Tindale. Rhetorica 1 August 2012; 30 (3): 323–325. doi: https://doi.org/10.1525/RH.2012.30.3.323 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Book Review| August 01 2012 Review: Vico and the Transformation of Rhetoric in Early Modern Europe, by David L. Marshall David L. Marshall, Vico and the Transformation of Rhetoric in Early Modern Europe, ( Cambridge University Press), Cambridge &; New York, 2010. 302 pp. Rhetorica (2012) 30 (3): 331–334. https://doi.org/10.1525/RH.2012.30.3.331 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Cite Icon Cite Search Site Citation Review: Vico and the Transformation of Rhetoric in Early Modern Europe, by David L. Marshall. Rhetorica 1 August 2012; 30 (3): 331–334. doi: https://doi.org/10.1525/RH.2012.30.3.331 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

316 RHETORICA important influence, as Lois Agnew has convincingly shown. All interested in eighteenth-century rhetoric will want to read Outward Visible Propriety: Stoic Philosophy and Eighteenth-Century British Rhetorics. Arthur E. Walzer University ofMinnesota Marco Tullio Cicerone. Ortensio. Testo critico, introduzione, versione e commento a cura di Alberto Grilli: Bologna, Patrón, 2010. 272 pp. ISBN: 978-88-555-3086-6. Le amorevoli cure di allievi e di amici hanno consentito di provvedere alia pubblicazione di questo importante lavoro cui Alberto Grilli ha atteso con dedizione fino agli ultimi istanti di vita, consegnando all'editore nella primavera del 2007 tutto il dattiloscritto senza pero riuscir a vedere il co­ ronamento di tanta fatica, cui oggi Leditore Pátron ha dato meritoriamente la luce. A distanza di piú di quaranta anni dalla precedente edizione (pubblicata dall'editore Cisalpino nel 1962), Grilli aveva avvertito la nécessité di riprendere in mano quel lavoro, non certo perché lo ritenesse superato ma per un'ansia sana di rivedere, correggere alcune scelte, ampliare la selezione dei frammenti, alia luce di un interesse che in lui era rimasto costante nel corso dei decenni trascorsi dalla prima edizione.1 Molto, frattanto, era successo; notevole, soprattutto, la pubblicazione nel 1976 di una nuova edizione a cura di Laila Straume-Zimmermann (Ciceros Hortensius: Bern-Frankfurt am Main, Lang). Nasceva dunque nella mente dello studioso il progetto di una nuova edizione, che solo riducendo il suo valore potrebbe essere definita una 'ri-edizione'. I segni più evidenti délia novità sono dati da un'eccellente traduzione italiana, che accompagna il testo, corredato a sua volta da note e, soprattutto, da un ricchissimo 'Profilo' (pp. 125-260), diviso in tre sezioni (cornice del dialogo, pars destruens, pars construens), vera novità del volume. Prima di entrare nel dettaglio, sará pero opportuno dire qualcosa del método con cui Grilli ha proceduto. Con un atteggiamento di prudenza per nulla autocompiaciuto lo studioso professa come elemento portante del proprio lavoro 1 incjuisitio veritatis, non Vinventio ventatis', una ricerca del«probabile senza inseguiré il possibile» (p. 260). provano alcuni interessanti contributi quali ad es. Lattanzio e Ortensio in ^PP56 , 2001, pp. 257—271; Seneca e l Hortensius, in P. Defosse (éd.), Hommages à Cari Dcrou.x, II: Bruxelles, Latomus, 2002, pp. 196-205. Reviews 317 Sotto questo profilo, significativa appare la scelta di considerare il lavoro non come «ricerca di storia della filosofía» ma piü ampiamente di «storia della cultura» , il che rende mérito dell attenzione costante che il volume riversa alia storia della ricezione del testo tanto nella cultura del tempo quanto, soprattutto, in quella seriore, con particolare riguardo alie scuole di retorica in cui il testo ricevette particolare fortuna, divenendo un modello esemplare per il nitore che lo contraddistingueva, piü che per il portato filosófico. Per paradosso é dunque la retorica a farsi solerte banditrice di un testo che é un protrettico alia filosofía. Ma entriamo nel dettaglio per offrire qualche saggio del método seguito da Grilli. Notevoli le argomentazioni riguardanti la questione annosa dei tempi di composizione. Sulla base di un paio di testimonianze epistolari ciceroniane, Puna rivolta a Varrone, Paltra ad Attico, Grilli dimostra come giá nelPaprile del 46 a.C. Cicerone avesse in mente il progetto dell'opera, anticipando in tal modo anche quanto ipotizzato da Philippson2 che riteneva certa la composizione tra Pottobre del 46 e il marzo del 45 a.C. La lettura di Grilli é particolarmente raffinata, fondandosi su un caso doppio di memoria letteraria: in una circostanza si tratta di un riferimento proverbiale alia vista di Linceo (fcnn. 9, 2, 2) che trovava spazio nel Protrettico di Aristotele (fr. 10a Ross), testo che Cicerone potrebbe aver avuto sul tavolo di lavoro in quel periodo; in un altro, la lettera ad Attico (Att. 12, 3, 1-2), PArpinate esalta Pimportanza delPamico dichiarando che nulla potrebbe tenerlo lontano da lui, nemmeno la permanenza nelle Isole dei beati. E qui Grilli vede un riferimento al fr. 110 delYHortensias, único dei casi noti in cui Cicerone faccia menzione di questo paradiso terrestre (si... in beatorum insulis immortale aevam... degere liceret). Vorrei a questo punto portare un esempio del modo con cui Grilli entra in dialogo con se stesso...

Reviews 323 C. W. Tindale, Reason's Dark Champions: Constructive Strategies of So­ phistic Argument (Studies in Rhetoric/Communication), The Univer­ sity of South Carolina Press: Columbia, 2010. 184pp. Renewed interest in the Sophists may have achieved an unbiased, if not fully acknowledged, rehabilitation of their philosophical ideas, yet what is likely their most extensive contribution to Classical civilisation, mastery in rhetorical argumentation, has so far lacked any comprehensive summary, let alone a comparison with modern theories of reasoning. Tindale analyses the standard textual evidence on the sophists' practice of reasoning to describe those strategies which may specifically be cate­ gorised as part of their rhetorical techne. However, the inherent difficulty of separating sophists and their occupation from their contemporaries and supposed opponents (as, for example, the relevant works of Isocrates and Alcidamas indicate) makes any such endeavour, however valuable it may be, necessarily tentative. The title, Reason's Dark Champions, may seem surprising, perhaps even paradoxical, considering that the essence of sophistic argumentation required public engagement and an open display of rational discourse. In the book T. follows a dual division with the first part being devoted (one would say - almost compulsorily) to the justification of sophistic practice in the face of its often distortive Platonic and Aristotelian representation, whilst the second part brings forward an appreciative account of several individual strategies. Although this may be a practical approach, it still reflects a somewhat defensive scholarly position in studying the Sophists, which may not be justified and so necessary anymore. The introductorv chapter contrasts the opinions of key classical authors and modern scholars with a view to clear the term "sophistic" of the semantic thicket that overgrew it in the past couple of centuries, as exemplified by Xenophon's De Venatione 13. He presses ahead with his point early on that all too often eristic argumentation a la Plato's Euthydemus has become the standard label for sophistic reasoning. However, refusing to understand the positive philosophical assumptions behind strategies such as the contrasting arguments will result in overlooking the relatively solid and extensive counterevidence from Gorgias to Euripides on the legitimate use of logos to reflect the contingent nature of the world and human actions. In the second chapter T. counters the regular (albeit rather vague) charge against the Sophists that they made a weaker argument the stronger. In a lu­ cid analysis of how mistranslating "make" with "make appear could mask Aristotelian or Platonic epistemological preconceptions, T. demonstrates on a particularly vivid example the general tendency of denying the Sophists of a legitimate sceptical standpoint in judging the truth of opposing claims. In fact, the arguments in Antiphon's model speeches and Protagoras's On Truth make it clear that the sophists applied pragmatic strategies, such as probabilistic arguments, to deal with matters without an appeal to abstract principles. 324 RHETORICA The next two chapters focus on the representation of sophistic tech­ niques in selected works of Plato and Aristotle. First, T. shows how the Protagorean measure-maxim and the resulting oratorical or dialectical practice focused on persuasion was incompatible with the absolutistic epistemology of Plato, which relied on dialogue and strategies such as the elenchus to clear the way for eternal Truth. The much-reviled fallacies in the Sophistical Refutations and the Euthydemus not only demonstrate the difference be­ tween the practices of real and apparent refutations, but (more importantly) bring out the conflicting approaches to reality by the sophists and Plato. In the end T. offers a highly interesting comparison of the two kinds of refuta­ tions, showing that despite fundamental differences arising from contrasting epistemological positions both strategies show striking formal similarities. In the second major part of the book T. aims at offering a list of in­ dividual techniques that could set apart the Sophists as unique innovators of argument. Confronting the problem of distinguishing sophistic practice from later rhetorical studies T. accepts rather uncritically Schiappa's distinc­ tion between the two theories of rhetoric and logos to draw a line between the Aristotelian and Protagorean idea of persuasion. That concept, although seemingly attractive, nevertheless raises more questions about the system­ atic description of evidence on Greek sophists/rhetoricians/philosophers than it solves. The...

Reviews Luis Alberto Marchili, Cómo legislar con sabiduría y elocuencia. El Arte de legislar reconstruido a partir de la tradición retórica, Buenos Aires: Editorial Dunken, 2009. 498 pp. ISBN: 978-9870240471 El lector me permitirá introducir estas páginas con un pequeño relato. Sé bien que ello es un modo poco común de hacerlo; el registro habitual de este tipo de colaboraciones suele admitir escasas variaciones, que insistentemente reitera. Me confío a la tolerancia del lector para sobrellevar la extravagancia. Pertenece al poeta-filósofo Gibrán Khalil Gibrán (Bisharri. Líbano, 1883- New York. USA, 1931), y dice así: "Años atrás existía un poderoso rey muy sabio que deseaba redactar un conjunto de leyes para sus súbditos. Convocó a mil sabios pertenecientes a mil tribus diferentes y los hizo venir a su castillo para redactar las leyes. Y ellos cumplieron con su trabajo. Pero cuando las mil leyes escritas sobre pergamino fueron entregadas al rey, y luego de éste haberlas leído, su alma lloró amargamente, pues ignoraba que hubiera mil formas de crimen en su reino. Entonces llamó al escriba, y con una sonrisa en los labios, él mismo dictó sus leyes. Y éstas no fueron más que siete. Y los mil hombres sabios se retiraron enojados y regresaron a sus tribus con las leyes que habían redactado. Y cada tribu obedeció las leyes de sus hombres sabios. Por ello es que poseen mil leyes aún en nuestros días. Es un gran país, pero tiene mil cárceles y las prisiones están llenas de mujeres y hombres, infractores de mil leyes. Es realmente un gran país, pero ese pueblo desciende de mil legisladores y de un solo rey sabio."1 En su lectura jurídica, el texto, que tiene el encanto de la fábula, compone un desbordante panorama de evocaciones, imaginarias o históricas. Permite (o propone), en efecto, reconstruir algunas estampas conceptualmente li­ gadas al mito y a la tradición cultural del Derecho. Así, por ejemplo, nos traslada a un espacio pretérito y remoto, hundido en las profundidades del tiempo, de analogías casi babélicas, umbral de la diseminación legislativa. Y con ello, asimismo, a una era precedente, de imposible retorno, anterior !G. Khalil Gibrán, "Las leyes," en G. Khalil Gibrán, El vagabundo. Ninfas del valle, pról. y trad, de M. Armiño (Madrid: EDAF, 1995), 55. Rhetorica, Vol. XXX, Issue 3, pp. 306-340, ISSN 0734-8584, electronic ISSN 15338541 . ©2012 by The International Society for the History of Rhetoric. All rights re­ served. Please direct all requests for permission to photocopv or reproduce article content through the University of California Press's Rights and Permissions w ebsite at http://www.ucpressjournals.com/reprintlnfo.asp. DO1: 10.1525/RH.2012.30.3.30u. Reviews 307 a la que fue cuna del desacuerdo y la fallida síntesis. Lamento de Arcadia idealizada, nostálgica Edad de Oro, donde una vez estuvo el originario estado de inocente felicidad apenas regido por leyes naturales. Atrás para siempre, alejada, irrecuperable, brotaría en esperanzado anhelo, en intensa aspiración, el desiderátum de lugares desplazados, imaginarias utopías, fecundadas de erasmista locura, como la de Tomás Moro (1516), donde hubiere "pocas leves," pero "eficaces" (Lib. I). Y también la amable exaltación rousseauniana de un Estado que tuviere necesidad de "pocas leyes" (El contrato social, lib. IV, cap. 1); "pocas leyes claras y simples," incorporadas en tres códigos, "uno político, otro civil y otro penal. Los tres claros, breves y precisos cuanto sea posible" (Considerations sur le gouveruement de Pologne, 1772).2Y con intención mayor, los avisos de Filangieri en 1774: "O la ley habla claro, y entonces el magistrado no puede alterarla; o la ley es tan oscura que la ambigüedad del sentido daría lugar al arbitrio, y entonces, al tenerse que recurrir a la autoridad suprema, el magistrado no puede hacer otra cosa que deducir la sentencia de la interpretación expresa que de ella dará el soberano."3 El repertorio de referencias...

312 RHETORICA relato del libanés. Lafabula docet podrá obtenerla mi lector sin necesidad de mucho batallar mental. José Calvo González Malaga Lois Peters Agnew, Outward, Visible Propriety: Stoic Philosophy and Eighteenth-Century British Rhetorics (Columbia, SC, University of South Carolina Press, 2008. 211 pp. The thesis of Lois Peters Agnew's Outward, Visible Propriety: Stoic Philos­ ophy and Eighteenth-Century British Rhetorics is a bold one: "This book argues that the history of British rhetoric cannot be understood without attending to Stoic strains in influential language theories of the eighteenth and early nineteenth centuries" (p. 1). Since Stoicism hardly appears in scholarly works on eighteenth-century British rhetoric, we must conclude that these histories are wanting. The narrative that Agnew in part contests has two parts and is as follows: First, the empirical epistemologies of Locke, Hume, Hartley, and Reid offered a new account of cognition and emotional response that had implications for rhetorical theory. Campbell and Priestly, recognizing the importance of these ideas, incorporated them into their theories. In their new epistemologicalpsychological accounts, rhetoric moved away from in its civic function as the means for reaching decisions in social, political settings and toward an inter­ est in the way an individual formed ideas, became emotionally engaged, and then acted. Rhetorical theory became concerned with providing a description of the way an individual processes sense impressions at the expense of the Classical concern with public deliberation. Second, the rhetorics of Smith, Karnes and Blair replaced an emphasis on helping students create speeches with developing students' receptive capacities—with developing students' taste—and establishing standards of judgment for all the types of discourse that constitute belles lettres. Taking these changes together, some scholars have depicted eighteenth-century rhetoric as abandoning rhetoric's tradi­ tional political mission and transforming rhetoric into a technical, psycho­ logical, and instrumental science in the service of bourgeois individualism and self-improvement. Agnew does not contest specifically that the overtly political is no longer thematized in eighteenth century rhetoric; nor does she deny that eighteenth century rhetoric is different. She does deny, however, that a social mission vanishes in the theories she analyzes. She insists that eighteenth-century rhetorical theorists were themselves anxious about movements tow ard indi­ vidualism, secularism, and scientism and developed their theories of rhetoric not to accommodate these movements but to ameliorate their effects. Her ar­ gument is that the concepts central to eighteenth-centurv rhetoric-—common Reviews 313 sense, taste, and propriety—constitute a technical vocabulary that, if cor­ rectly read in the context of Stoic concepts familiar to the eighteenth-century theorists, are the basis for a social theory of rhetoric. Agnew's "Introduction" and first chapter, "Stoic Ethics and Rhetoric," offer a short summary of Stoicism that attempts to complicate some of the stereotypes that readers may hold of it. While Agnew acknowledges that Stoicism has a long, complex history, she is not much concerned with nu­ ance or the ensuing historical complications. Rather, she mines the tradition for Stoic themes that serve her purposes—a somewhat circular way of pro­ ceeding but forgivable since the eighteenth-century rhetorical theorists who are her concern would themselves be interested in Stoicism as appropriators . She is interested in dispelling or complicating stereotypes of the Stoic wise man who stands above the social norms, proudly beyond influence by others, and practices at best a disciplined sympathy, cultivating an austere self-command that hardly seems social. And of course the Stoics had notori­ ously little use for rhetoric. But as Agnew points out, the wise man has a civic obligation, and she highlights themes of civic duty and responsibility, in Roman Stoicism especially. With regard to rhetoric, Cicero, who faulted the Stoic attitude toward rhetoric while advocating Stoicism, judged the impoverished Stoic theory of language and rhetoric a remediable deficiency. In Chapter 2, Agnew traces the concept of commonsense in Shaftesbury, Hutchenson, and Reid to Stoic antecedents. The three eighteenth-century theorists had, among themselves, distinctly different understandings of the meaning of commonsense, which Agnew acknowledges while maintaining that their different articulations are similarly motivated to find in human innate cognitive and moral capacities an argument against skepticism and the basis for...

Reviews 319 trovano collocazione come fr. 89 in riferimento a Democrito, in virtü del noto aneddoto che circolava in antico secondo cui Democrito aveva pretérito lasciare a pascólo le proprie terre. Troppo poco, sostiene in maniera impeccabile Grilli, per un'attribuzione che l'esiguitá del materiale non puó in alcun modo sostenere. Mi sembra di aver dato qualche breve, ma significativo saggio del modo di procederé di Grilli, aperto per necessitá a piu direttrici di senso e impegnato , pour cause, a lavorare su piu fronti, in considerazione dell'amplissima fortuna di cui il trattato godette in ogni tempo, ma soprattutto in autori come Lattanzio o Agostino, presso i quali le meditazioni ciceroniane apparivano a tal punto contraddistinte da luciditá argomentativa da offrire un esempio particolarmente apprezzabile e un modello; ma proprio questa considera­ zione, che é nei fatti una valutazione attenta della ricezione del trattato e della considerevole fortuna di cui esso godette in ámbito cristiano, impone alio studioso le ragioni della prudenza, in special modo quando si tratta di operare tra ció che puó risultare quanto meno con ragionevole certezza imputabile a Cicerone e quello che, ispirato al?Arpíñate e al trattato, va invece letto come frutto della rielaborazione altrui. Di questi rischi Grilli avverte la pericolositá soprattutto per opere come il terzo libro delle Divinae institutiones di Lattanzio o i libri 13-14 del de Trinitate di Agostino, opere che risentono di certissimi influssi de\YHortensias, ma proprio per questo 'pericolose' per i rischi di indebite attribuzioni al trattato di riflessioni in ogni modo ad esso riconducibili. E proprio per tali ragioni, di tali finissime riflessioni di Grilli, maturate in un lungo arco cronológico e concretizzatesi in questa preziosissima opera, la comunitá scientifica non puó che dirsi grata all'Autore, cui é mancato il piacere di veder pubblicata l'opera nella veste definitiva, e a chi, meritoriamente, ne ha ultimato gli sforzi. Alfredo Casamento Palermo Joel B. Altman, The Improbability of Othello: Rhetorical Anthropology and Shakespearean Selfhood (Chicago: University of Chicago Press, 2010). 450 pages. Joel Altman's The Improbability of Othello: Rhetorical Anthropology and Shakespearean Selfhood is, like his earlier The Tudor Play of Mind, a big book. It offers extensive, detailed commentary on one of Shakespeare s major tragedies as well as briefer examinations of other plays. It situates those readings, as well as the stage practices, the acting, and Shakespeare s own sense of himself and his craft, in their historical context, specifically relating them all to what Altman calls the "rhetorical anthropology" that he sees as defining the Renaissance. It also traces that rhetorical anthropology back to 320 RHETORICA its sources in antiquity. Finally, Altman's study offers a detailed analysis of a concept that is central to rhetoric—probability—and shows us its importance not just for that discipline, but for dialectic and philosophy as well as for concepts of self and society. As in his previous book, Altman starts from the assumption that for the Renaissance rhetoric was the "Queen of the Sciences." But whereas in The Tu­ dor Play ofMind, he was interested in how the teaching of students to debate questions from different points of view (the argumentum in utramqne partem) shaped the development of the English Renaissance drama, here he sees rhetoric as determining the basic ways that people viewed both themselves and their culture. According to the pre-Socratic philosophers, who invented rhetoric, we live in a world of appearances, where matter is in flux and the senses unstable, the world of rhetoric that deals not with absolute truths, but with probabilities. This view, which was inherited by Renaissance humanists, is what Altman calls "rhetorical anthropology" It assumes that individuals operate in the transient historical world where cognition is always radically contingent; that people cannot truly know others; and that what they experi­ ence as their selves are the changeable products of rhetorical interactions. Orators can be persuasive in this world, not because their words reference realities, but because they create emotionally compelling heterocosms out of language for their audience. Altman distinguishes two kinds of rhetorical identities that get produced. Adapting Raymond Williams' terms for ideolo­ gies, he calls one "emergent," the identity that gets produced...

This essay examines actresses on the London stage between 1660 and 1890, focusing on the investigative topoi of pregnancy and rhetorical access and charting the starts and stops that characterize women’s entry into public forums. The performance schedules of seventeenth- and eighteenth-century London actresses reveal that both married and unmarried women routinely performed while “big with child.” With the ascent of new constructs of sex and gender, however, women’s recourse to and options on stage narrowed considerably. Victorian actresses developed new career patterns and rhetorical strategies to accommodate pregnancy’s increasing relegation to the private sphere, their delivery thus reflecting and responding to a changed social context.

334 RHETORICA 254) he is not wrong strictly speaking, although the observation is too broad to be useful; "radicalized," decorum can look like almost anything including Sunday brunch or the DMV Driver's Handbook. Ultimately these issues are minor when we consider the substantial payoff. David Marshall has written a deeply responsible book that moves with grace, chronologically through Vico's entire oeuvre—including some notable rediscoveries in the archives and beyond—at the same time that it honors the weirdness that makes Vico indispensable. Daniel M. Gross University of California, Irvine Thomas Conley, Toward a Rhetoric ofInsult, Chicago: Chicago Univer­ sity Press, 2009. 132 pp. As he states in the preface to his Toward a Rhetoric of Insult, Thomas Conley's explicit aim is to "stimulate some constructive conversation" (p. viii). Insults have admittedly been a serious political issue in the 2000s. Conley mentions in passing both the Danish cartoons depicting Mohammed (p. 8) and the speech by Pope Benedict XVI about Manuel II Palaeologus (pp. 121-122), and quotes one Iranian imam as saying: "I am for freedom of speech, but not the freedom to insult" (p. 1), which puts the problem of political correctness in a nutshell. The style employed in this book is both expansive and discursive. Conley's range of examples and sources is wide: from antiquity (Aristo­ phanes, Cicero, Martial) to the early-modern period (the sixteenth-century Lutheran Flugschriften, Julius Caesar Scaliger's attack on Erasmus, Shake­ speare's comedies); from the political cartoons and the anti-Semitism of the twentieth century (the leading nazi-ideologist Julius Streicher's Kampf dem Weltfeind and the anti-Semitic insults disseminated by The Dearborn In­ dependent, a Michigan newspaper published by Henry Ford) to TV series and movies created by the comedy group Monty Python. Presentations are generous, and the reader is invited to explore the many facets of the topic. Although Conley's expressed intent is not to theorize insult (p. vii), he nevertheless offers some useful semi-theoretical concepts, defining, for example, what he terms the "scenario" and the "intensity" of insults (p. 3-7). Referring to Saara Lilja's work on insults in Roman comedy (from 1965), Conley underlines the importance of studying "who says what about whom and why" (pp. 13-14). These are more or less rhetorical issues, dealing with and specifying the rhetorical situation. Conley emphasizes that the rhetoric of insults does not concern only elocutio (diction, style), but also pronuntiatio (delivery) like the tone of voice, body language, and timing (p. 7). One of the main arguments in Conley's book is that there are also 'positive' or 'nonserious' insults, which have cohesive effects such as fh/tin^ Reviews 335 (the Scottish tradition of of insult poetry), craik (the banter between friends in the Irish pubs), the dozens (a form of verbal duelling used in AfricanAmerican culture), and battle rap or beefing. Indeed, it is quite delightful to read, e.g., about Yiddish insults (p. 11-12), which seem to be both self-ironical and have a kind, sympathetic nature. According to Conley, some insults can even be analysed like jokes with a punch line, as he does when discussing Martial's epigrams (pp. 43-47). Conley calls into question strict manuals or rules of good conduct; he has some apprehensions about the situation when the maxim 'if you can't say anything nice, don't say anything at all' is in operation (p. 120). In his view, this kind of atmosphere and passing laws against insults censures not only freedom of expression but can also threaten the social relationships based on the many kinds of 'positive' insults (p. 116). However, Conley's own tentative definition does not fit well in the benign situations of 'positive' insults. He defines insult as a "severely nega­ tive opinion of a person or group to subvert their positive self-regard and esteem" (p. 2). Furthermore, Conley's examples of, e.g., the aesthetically valuable insults—such as found in the writings of the English critic William Connor (p. 118)—seems to be examples of irony, not of insults. The definition of insult is the subject of the first section of the book...

Jonathan Swift was contemptuous of the figure of the orator in his satirical writings, and yet he proved to be one of the most influential figures behind the eighteenth-century ‘elocutionary movement’ in Great Britain. His most distinctive remarks on the subject of practical rhetoric concern the art of pulpit eloquence. The simple style that Swift consistently recommends is both a rebuke to and a weapon against the false eloquence of a particular ethical class: the impertinently proud. The force behind this weapon is Swift’s analysis of the moral assumptions of his opponents, and particularly their faith in the rhetorical efficacy of ‘conviction’, against which Swift proposes his own defense of ‘hypocrisy’. The moral and theological principles that inform Swift’s rhetoric have contextual roots in contemporary commentary on sacred eloquence, and particularly in the efforts of late-seventeenth-century French writers, including Caussin, Lamy and Fénelon, to formulate a rhetorical ethics that does not betray the preacher (elevated above and unanswered by his audience as he must be) into the temptations of pride.

Reviews 331 Il commenta, prevalentemente letterario-linguistico, fornisce molti loci pnrnlleli e informazioni linguistiche di varia natura: particolarità della lingua e della sintassi della declamazioni in confronto con il latino di età classica, discussione dei passi problematic! dal punto di vista filológico. I passi in cui Z. opera scelte diverse rispetto all'edizione di riferimento vengono elencati già in nota a p. 106 e alcuni di essi vengono poi discussi nel commento: come in tutti i volumi della collana, infatti, anche questo è privo di apparato critico. Va tuttavia notata l'assenza di informazioni relative alla tradizione del testo, che sarebbero state di aiuto nei casi in cui vengono affrontati problemi di tale natura (cfr. p. 162, per esempio, sulle varianti debilitate e debilitas, 112 H., in alternativa alie quali Z. preferisce ad debilitatem). Z. fornisce un esame attento e sottile degli aspetti formali e retorici della declamazione, indaga e testimonia la presenza in essa di materiale letterario precedente o contemporáneo e la sua permanenza nella letteratura successiva. II suo contributo è altresi prezioso per il confronto tra la realtà culturale contemporánea e quella tratteggiata nella declamazione, con cui egli dimostra in modo esemplare come le declamazioni possano contribuiré a ricostruire il dibattito del tempo sui valori e sulle rególe comportamentali. María Luisa De Seta Lattarico, Italy David L. Marshall, Vico and the Transformation of Rhetoric in Early Modern Europe (Cambridge University Press), Cambridge & New York, 2010. 302 pp. It has always seemed fitting that Giambattista Vico's last rediscovery came at the end of the psychedelic era in 1969 (Giambattista Vico: An Inter­ national Symposium, eds. Giorgio Tagliacozzo and Hayden V. White), when category mistakes could appear at the heart of cultural and political revo­ lution. Unlike Foucault's orderly thinkers of the Enlightenment, Vico and his tables of knowledge always appeared intriguingly disheveled and full of holes that led, if one was fortunate, to new dimensions of time and human character. But like other casualties of the psychedelic era, Vico has often seemed in danger of perishing in the epiphany, falling victim to accusations of idiosyncrasy or even incoherence. Thanks to David Marshall, however, we now know that the story of Vico's rediscovery does not end this way. In his landmark book Vico and the Transformation of Rhetoric in Early Modern Europe, Marshall demonstrates that Vico is once again a pivotal figure in a modern age broadly conceived, where sober sciences newly engage the irra­ tionalisms of emotion, language, and human history. We can now celebrate the first major, English-language monograph on Vico in over a decade at the same time that we enjoy expert guidance through a range of concerns that traverse Vico's work; Marshall's book serves as an excellent primer on the 332 RHETORICA interlocking fields of modern epistemology after Descartes, the prehistory of Peircean pragmatism, early modern European intellectual history across four literatures (English, German, French, and Italian), and the history of rhetoric and communication, which serves as a key to the rest. Marshall launches the story in original fashion when he begins with Vico's De coniuratione principum neapolitanorum, a history of the 1701 Neapoli­ tan Conspiracy of Macchia that was unpublished and unacknowledged by Vico, although it was probably in circulation, as Marshall discovered through manuscript research at the Biblioteca Nazionale di Napoli, within months of the event itself (p. 33 n. 3). This document turns out to be crucial be­ cause in it one sees the driving question that would give shape to Vico's entire scholarly initiated at the University of Naples in 1699 as professor of rhetoric and continuing through the posthumously published 1744 edi­ tion of the Scienza Nuova, for which Vico is justifiably famous. Frustrated, Marshall speculates, by the limited utility of rhetorical historiography tra­ ditionally conceived, Vico asks in light of the Conspiracy "What would it take to reconfigure rhetorical inquiry for Neapolitan conditions?" (p. 32) given that Naples lack the conditions for immediate politics imagined by the rhetoricians of classical antiquity. And from this seemingly simple ques­ tion emerges a transformative moment for Vico in the history of rhetoric. Marshall summarizes that "Vico's oeuvre takes on a new unity...

This paper applies cognitive linguistic frame analysis to three long speeches from fourth-century Athens. It examines how Aeschines constructs and successfully deploys the socio-political concept or frame of the good citizen against Timarchus in 346/5 B.C. and then in a more elaborate form against Demosthenes in 330 B.C. and how Demosthenes wins the case by redefining the frame through metaphor-based reframing of the good, steadfast citizen. This framing analysis reveals Aeschines' overall rhetorical strategy and facilitates rhetorical assessment of the two crown speeches through a comprehensive, socio-politically integrated perspective.

Reviews 325 much wider rhetorical practice or whether the Sophists offered any notable contribution to these fields. T.'s book is a worthy summary of Sophistic argumentation based on a painstaking analysis of a wide selection of available texts and lucid compar­ isons with modern parallels. Unfortunately, it does not consistently address the thorny (and possibly unresolvable) methodological question of what strategies and why we could call genuinely Sophistic, so he occasionaly seems to read Aristotelian or Platonic concepts back into sophistic texts. Sometimes the line of argument is not easy to follow due to the dense pre­ sentation of facts and the book also suffers from some irritating mistakes both in the English and the Greek spelling (e.g. pp. 35, 48 or 169). However, as a rich and perceptive reappraisal of primary evidence, the study will likely to provoke strong response and stimulate further studies on the Sophists not only in classical and modern rhetoric, but in philosophy as well. Gabor Tahin Burnham, England Pseudo-Dionigi di Alicarnasso, I discorsi figurati I e II (Ars Rhet. VIII e IX Us.-RadJ. Introduzione, Traduzione e Commento a cura di Stefano Dentice di Accadia, Pisa-Roma: Fabrizio Serra Editore (AION. Quaderni 14, 2010), 184 pp., ISBN 978-88-6227-220-9 Accompagnata da un'ampia Introduzione (pp. 11-50) e dal Commento (pp. 129-178), Stefano Dentice di Accadia (D.A.) propone nella collana AION. Quaderni (n. 14) la prima traduzione intégrale in italiano dei Discorsifigurati I e II (Ars Rhet. VIII e IX Us.-Rad. ) di ps.-Dionigi di Alicarnasso, basata sul testo edito, agli inizi del secolo scorso, da Usener e Radermacher (da cui D.A. si discosta in alcuni luoghi, come H vede dalla Tavola delle divergenze a p. 51), con un'ulteriore lettura del Parisinus Graecus 1741 e del suo apógrafo, il Guelferbytanus 14. L'idea di tradurre i due scritti nasce nell'àmbito degli studi di ricostruzione dell'esegesi omerica antica; l'impostazione del lavoro tende infatti a privilegiare l'aspetto della critica letteraria omerica rispetto a quello retorico. I due trattati, che analizzano una particolare técnica oratoria conosciu*a nell'antichità col nome di λόγοι ¿σχηματισμένοι, ossia un discorso in cui il pensiero non viene espresso in maniera diretta, ma in forma mascherata (come si legge nella definizione di Zoilo riportata da Febammone III, 44, 1-3 Spengel), rappresentano un unicum nella letteratura antica perché sono i soli scritti monografici nei quali la teoría è spiegata attraverso 1 analisi di esempi letterari tratti da autori greci (Omero, di cui si analizzano molti passi deïVIliade, Demostene, Euripide e Tucidide). I due trattati a e b costituiscono i capitoli VIII e IX di una Τέχνη ρητορική erróneamente attribuita a Dionigi di Alicarnasso, sulla cui paternité e datazione c'è ancora grande incertezza (si 326 RHETORICA tende a ritenere i due trattati composti tra la fine del I sec. e la prima meta del III sec. d.C., cf. Introd., p. 14 n. 19), un'opera che consiste in una raccolta di testi di retorica e di critica letteraria scollegati per lo piü tra loro, frutto di una collezione arbitraria di diversa provenienza. Potrebbe trattarsi, considerato 10 stile frettoloso e spesso inelegante delle due monografie, di testi scolastici, verosímilmente appunti dettati a vari allievi in momenti diversi (ipotesi contestata da M. Heath, Pseudo-Dionysios Art ofRhetoric 8-11: Figured Speech, Declamation and Criticism, «AJP» 124/1 [2003], pp. 81-105). D.A. non esclude che i due trattati possano essere opera del medesimo autore, né che si possano individuare mani diverse da un'opera all'altra o anche all'interno di uno stesso trattato (Introd., p. 15). L'lntroduzione si compone di un parágrafo (1) relativo alia storia della teoría antica del discorso e della causa figurati, di un parágrafo (2) dedicato all'importanza dei due trattati nel panorama del genere letterario in cui sono inquadrati, con l'illustrazione dei tre σχήματα (il parlare con tatto e decoro [μετ’ εύπρεπείας], il parlare 'per obliquo' [κατά πλάγιον], il parlare 'per contrario' [κατά τό εναντίον]) e un utile e dettagliato sunto (pp. 16-21), e di un parágrafo (3) che traccia uno status tpiaestionis degli studi sull'argomento. Nel penúltimo par...

Book Review| May 01 2012 Review: Appelés à la liberté (Rhétorique sémitique), by R. Meynet R. Meynet, Appelés à la liberté (Rhétorique sémitique), Paris: Lethielleux, 2008, pp. 236. ISBN: 978-2-283-61255-2. Rhetorica (2012) 30 (2): 202–204. https://doi.org/10.1525/RH.2012.30.2.202 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Twitter LinkedIn Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Review: Appelés à la liberté (Rhétorique sémitique), by R. Meynet. Rhetorica 1 May 2012; 30 (2): 202–204. doi: https://doi.org/10.1525/RH.2012.30.2.202 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentRhetorica Search This content is only available via PDF. © 2012 by The International Society for the History of Rhetoric. All rights reserved.2012 Article PDF first page preview Close Modal You do not currently have access to this content.

This essay argues that Plato's use of narrative conceals within Socrates' explicit rejection of rhetoric an implicit authorial endorsement, manifested in the dialectical and rhetorical failures surrounding Socrates' deliberations over logos. I suggest that Aristotle's Rhetoric is consonant with Plato's view in its general affirmation of rhetoric's power, utility, and necessity as well as in its specific recommendations regarding logos. I employ Martin Heidegger's explication of logos in Aristotle to illuminate how the term conforms to Plato's implicit position regarding logos and rhetoric. This interpretation entails an expanded meaning of logos as it is found in Rhetoric, assigning it a more primary, pre-logical, oral content.