In A Rhetoric of Motives Kenneth Burke revises the traditional understanding of rhetoric as persuasion.He introduces the concept of identification to define persuasion dialectically by locating it in a formal opposition to identification. The ultimate motives that drive this dialectical tension are love and strife. As dialectical creatures, human are drawn toward each other and seek to distinguish themselves from one another. For a world threatened by its own misunderstanding of ambition and its unreflective acceptance of historical identities, Burke's philosophy of rhetoric offers a way to understand what itmeans to be a dialectical being at a particular point of history, and it does so because it has the practical objective of making the world more just.

Reviews Carruthers, Mary, ed., Rhetoric Beyond Words: Delight and Persuasion in theArts oftheMiddleAges. (Cambridge Studies in Medieval Literature, ed. Alastair Minnis). Cambridge: Cambridge University Press, 2010. xii + 316 pp. ISBN 9780521515306. Carruthers' edited collection shows how rhetorical theory informs and is informed by the visual, mechanical, and performative arts of the Mid­ dle Ages, with origins in the classical rhetorical tradition. This collection is groundbreaking in several ways: 1) by demonstrating the interconnected­ ness of medieval genres of rhetoric, 2) by expanding the canon of rhetorical texts, from classical origins to later adaptations, and 3) by suggesting av­ enues for further research across disciplinary lines. Thus, it transforms our understanding of rhetoric and expands it to new areas, especially oral and written performance in the Middle Ages. This collection will also appeal to those interested in medieval cultural studies through the study of verbal, visual, and performative arts as rhetoric. Paul Binski's essay, "'Working by words alone': the architect, scholas­ ticism and rhetoric in thirteenth-century France," opens the collection by relating thirteenth-century scholastic and rhetorical discourse and architec­ ture as influential on High Gothic architecture. Not only were architectural terms imported into rhetorical treatises, but also the architect as auctor, cre­ ator, master of a craft, was elevated to a new plane of authority. Central to this authority is that of planning, envisioning in the mind, foreknowing the work to be constructed, a skill required of both rhetor and architect. In "Grammar and rhetoric in late medieval polyphony: modern meta­ phor or old simile," Margaret Bent takes cross-disciplinary applications of rhetoric into the realm of performance by exploring intersections among terms employed in medieval music and grammar and rhetoric. Shared terminology, such as definitions, metaphors, and similes parallel musical structures. Other correspondences between rhetoric and music include the parts of an oration in arrangement and punctuation in notation, rhetoric in and as performance art. "Nature's forge and mechanical production: writing, reading and per­ forming song" continues this theme. Elizabeth Eva Leach develops the metaphor of the forge through collaborative invention in song, challenging Rhetorica, Vol. XXXI, Issue 2, pp. 220-237, 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.2013.31.2.220. Reviews 221 a common assumption that pieces were written first by a solitary composer or lyricist and then rehearsed by singers. Instead, she argues for "viewing the musical trace as a series of more or less precise memorial notae from which singers invent a collaborative (simultaneous) performance" (72). Her findings corroborate research on early modern theatre, as she explains in the latter half of her essay, thus broadening and transcending genre lines through a concept of composing process with parallels in two performance arts. Lucy Freeman Sandler's essay, "Rhetorical strategies in the pictorial im­ agery of fourteenth-century manuscripts: the case of the Bohun psalters," in­ troduces rare evidence of a rhetorical appeal from artists to patrons, through illuminations of psalters commissioned by the Bohun earls of Essex in the fourteenth century. Two artists, both Augustinian friars, employ images that relate biblical scenes to social and political matters relevant to their pa­ trons, thereby providing moral and theological counsel in devotional prac­ tice. Thus, the rhetoric of the art mirrors that of the drama, in which reader becomes actor: "For the Bohuns, reading and recitation of the psalms or the Hours of the Virgin, a devotional exercise that was repeated over and over, was associated with study of the fundamental narratives of human and sacred history in the Old and New Testaments in pictorial form" (117). This parallel opens pathways for research on intersections among private devotion, art and drama. Similarly, in "Do actions speak louder than words? The scope and role of pronuntiatio in the Latin rhetorical tradition, with special reference to the Cistercians," Jan M. Ziolkowski takes up the theme of performance in the Latin rhetorical tradition through actio (gesture) and pronuntiatio (elocution...

In A Rhetoric of Motives Kenneth Burke revises the traditional understanding of rhetoric as persuasion. He introduces the concept of identification to define persuasion dialectically by locating it in a formal opposition to identification. The ultimate motives that drive this dialectical tension are love and strife. As dialectical creatures, human are drawn toward each other and seek to distinguish themselves from one another. For a world threatened by its own misunderstanding of ambition and its unreflective acceptance of historical identities, Burke’s philosophy of rhetoric offers a way to understand what it means to be a dialectical being at a particular point of history, and it does so because it has the practical objective of making the world more just.

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.

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.

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...

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...

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...

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...

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| February 01 2012 Review: Moving Bodies: Kenneth Burke at the Edges of Language, by Debra Hawhee Debra Hawhee, Moving Bodies: Kenneth Burke at the Edges of Language, Columbia: University of South Carolina Press, 2009. 215 pp. ISBN 978-1-57003-809-9. Rhetorica (2012) 30 (1): 94–97. https://doi.org/10.1525/RH.2012.30.1.94 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: Moving Bodies: Kenneth Burke at the Edges of Language, by Debra Hawhee. Rhetorica 1 February 2012; 30 (1): 94–97. doi: https://doi.org/10.1525/RH.2012.30.1.94 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.

The essay analyses several excerpts from Gabriele D'Annunzio's public speeches from the period of his reign in the town of Fiume as a self-appointed dictator. The concept of the “state of exception” as explored by Giorgio Agamben and Mikhail Bakhtin's notion of the carnival are applied to a reading of D'Annunzio's exercises in political rhetoric.

Reviews Debra Hawhee, Moving Bodies: Kenneth Burke at the Edges ofLanguage, Columbia: University of South Carolina Press, 2009. 215 pp. ISBN 978-1-57003-809-9 "There are only bodies and languages." Alain Badiou's proposition at the beginning of Logics of Worlds neatly sums up the rhetorical theory of Kenneth Burke as elaborated by Debra Hawhee in Moving Bodies. Hawhee's book is an excellent study of Burke's career-long preoccupation with hu­ mans as "bodies that learn language." Hawhee selectively tracks this pre­ occupation from Burke's earliest fiction through his engagements with bod­ ily mysticism, drug research, endocrinology, constitutional medicine, and gesture-speech evolution to his final recapitulations organized around the opposition between nonsymbolic motion and symbolic action. Hawhee's multidimensional discussion presents a powerful case for Burkean explo­ rations of the rhetorical primacy of bodies and language, what Badiou more generally labels "democratic materialism." In her introduction Hawhee defines the transdisciplinary framework she uses to examine Burke's thinking. Distinguishing it from interdisci­ plinary study, Hawhee describes contemporary transdisciplinarity as an "effort to suspend—however temporarily—one's own disciplinary terms and values in favor of a broad, open, and multilevel inquiry," focusing on specific problems by drawing together radically different orientations (p. 3). Burke himself was a transdisciplinarian avant la lettre. His early critical method of "perspective by incongruity" brought together contrasting in­ terpretive frames to do productive explanatory work, and his svnecdochic clustering approach transformed associative constellations of terms into sug­ gestive meaningful wholes. Throughout Moving Bodies Hawhee provides a transdisciplinary kind of rhetorical history. She skillfully tracks Burke's in­ terpretive accomplishments in juxtaposing radically different discourses and tropically clustering terms associated with the body/language problematic. For example, in Chapter 1, "Bodies as Equipment for Moving," Hawhee pursues the "music-body-language cluster" through Burke's early fiction and music criticism to challenge past claims about his purported movement from aesthetics to rhetoric in the twenties. She persuasively argues instead that a distinctive rhetoric centered on bodily effects was there from the very Rhetorica, Vol. XXX, Issue 1, pp. 94-110, 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. IN4. Reviews 95 start. Hawhee explains how7 this Burkean rhetorical aesthetics arose from his fictional interest in characters' bodily rhythms and his critical interest in music s effects on audience bodies. Her account of Burkean talk about “bodies and their rhythmic/arrhythmic capacities" sets the stage for a rich rhetorical story about Burke's developing theories of language, rhetoric, and symbol-using generally. Haw7hee finds one passage in Counter-Statement to be especially significant, returning to it at least three times in Moving Bodies: The appeal of form as exemplified in rhythm enjoys a special advantage in that rhythm is more closely allied with 'bodily' processes." Rhetorical form appeals to somatic rhythms of “systole and diastole, alternation of the feet in walking, inhalation and exhalation, up and down, in and out, back and forth." In Chapter 2, "Burke's Mystical Method," Hawhee concentrates on Burke's engagement with bodily and intellectual strands of mysticism, es­ pecially in his tw7o books of the mid-thirties, Permanence and Change and Attitudes toward History. During times of crisis and alienation, Burke sug­ gests, mystics emerge to perceive things differently. As he puts it in Perma­ nence and Change, mysticism is primarily “an attempt to define the ultimate motivation of human conduct by seeing around the corner of our accepted verbalizations." Significantly, a valuable resource of such mystical insight can be found in the human body. Writing to Allen Tate in 1933, Burke asserts that during historical periods when, as in the thirties, ethical systems fall into disrepute, mystics often seek in bodily processes an ''undeniable point of reference outside the system whereby sturdier and more accurate moral exhortations could be built up." For Burke, mystical bodies move thought tow7ard new7 perspectives and into unexpected meaningful associations. Hawhee...

The essay analyses several excerpts from Gabriele D’Annunzio’s public speeches from the period of his reign in the town of Fiume as a self-appointed dictator. The concept of the “state of exception” as explored by Giorgio Agamben and Mikhail Bakhtin’s notion of the carnival are applied to a reading of D'Annunzio’s exercises in political rhetoric.

102 RHETORICA authoritarians generally, wanted things their way, without acknowledging the criticism, flaws, or consequences of that way or how they got it." (234) Some more nuance is in order. Historians are well aware that proslavery thought ante-dated the abolitionist literature crisis of 1835, though the ampli­ tude of proslavery thought certainly increased after Nat Turner's rebellion in 1831 and became substantially more strident post 1835. Another instance is Roberts-Miller's argument that many proslavery advocates portrayed slav­ ery as anti-modern (65-67). Those tropes are certainly in the proslavery lit­ erature and historians still frequently set up the old South as a place of pre-modern values against the market-oriented North. However, much of the movement (and also the rhetoric) was about how slavery was consistent with progress. Fanatical Schemes is difficult reading. It is dense. The discussion of secondary literature sometimes seems distant from the topic under study. For instance, juxtaposed are references to Orwell and proslavery thought (41, 219), the Nazis and slavery (218-19), and histories of Native Americans and contemporary debate over the Confederate flag (46). However, for those who are interested in the power of rhetoric and the contours of conservative thought, this volume will repay well the time spent with it. Roberts-Miller relocates ideas and words to the center of historv in this J study of how slavery was discussed. The big question one has is how do the ideas expressed here relate to reality? That is, even if the proslavery arguments had been more moderate, would the path of our nation towards proslavery actions - like secession - have been different? Did words cause war? Or is the discussion of proslavery thought more a dependent variable than an independent one? As we try to answer these questions, this important book may help re-ignite the scholarly study of proslaverv thought and the power of words and ideas. Alfred L. Brophy University of North Carolina-Chapel Hill Jeanne Nuechterlein, Translating Nature into Art; Holbein, the Refor­ mation, and Renaissance Rhetoric, University Park, PA: Pennsylvania State University Press, 2011, 242 pp. ISBN:978-0-271-03692-2 In the main, the terms and syntax of early sixteenth-century criticism of art are those of classical rhetoric. Most certainly, rhetorical analysis can illumine any visual or verbal persuasive event, regardless of self-conscious authorial intent or training. And early sixteenth-century Basel was the shared context of Erasmian (and Melancthonian) rhetorical publications as well as of Holbein's early (pre-England) work. Nuechterlein very usefully explores the context and considers the parallel tactics in Erasmian rhetorical theory and practice and Holbeinian visual rhetoric. She observes that Holbein "il- Reviews 103 lustrated , or drew marginal comments" on, Myconius' copy of Praise of Folly, suggesting he read it (67). There is as well an ingenious, useful dis­ cussion of the classical anecdotes Holbein selects for the “political rhetoric" of his decorative program (now lost) of the Basel Council chamber; she also notes possible linkages of the scenes to contemporary political scandal. Still, noting that Holbein s dev otion to variety as aesthetic value resonates with Erasmus s case for the virtue of copiousness, she correctly emphasizes a source of Holbeinian variety as current artisanal practice. Nuechterlein has amassed a great deal of rhetorical information—the available theory and expressive practices—but what rhetorical use does she make of her facts? Her primary, dominating rhetorical strategy is to dichotomize: opposing Holbein's “descriptive" art to the “inventive": phys­ ical to spiritual, body to mind, objective to subjective, observation of reality to “artistic", imaginative inv ention. But are not the "descriptive" portraits “inventive"? Could not a case be made that they are powerfully innovative? True, she asserts that Holbein achiev es a “middle ground" between descrip­ tive/ inv entiv e modes; but this does not do justice to the portraits' delivery of persons simmering with intent. There is the “Young Man, Age 32", alive to the possibility of engaging the viewer; and Holbein's portrait places Thomas More as oligarch, a man of power we know as intent on the cruel repression of heretics, a repression justified in his strenuous Humanist rhetoric. On the other...

Reviews 97 catharsis and his writing vividly about his "gasping-gagging-gulping" and other persistent ailments. Hawhee's suggestive conclusion raps up her argument by focusing on Burke's famous formulation of the motion/action opposition in the eighties. Not the least of Hawhee's many accomplishments in Moving Bodies is her complication of this distinction, which she demonstrates is much more than a simple metaphysical opposition. Rather, the binary of nonsymbolic motion and symbolic action serves Burke as the basis of a "multidirectional theory" that, while positing an irreducible distinction between body and language, nonetheless shows the two terms to be parallel and complementary in the extreme (p. 166). Again and again in Moving Bodies, Hawhee chronicles how Burke worked rhetorically through the body in different discursive fields. Burke thought literally about the body and its causal relation to language, and he thought figuratively with the body in his descriptions and explana­ tions of cultural production and reception. Indeed, within Hawhee's inci­ sive rhetorical biography, the static/moving and functional/dysfunctional body emerges as the very condition of possibility for understanding Kenneth Burke as a theorv-proving, symbol-using animal. Moving Bodies deserves praise not onlv for its full-bodied picture of Burke as language thinker but also for its proposal of an alternative materialist model for doing rhetorical history. Steven Mailloux Loyola Marymount University Peter Mack, Reading and Rhetoric in Montaigne and Shakespeare, London and New York: Bloomsbury Academic, 2010. 210 pp. Peter Mack sets himself an ambitious task in this short impressive book: to compare the ways Montaigne and Shakespeare composed essay and speech, respectively, following intellectual habits and practices acquired in their humanist grammar school education-and to explain why knowing this makes a difference. He begins by reviewing the reading and composition training of the schools—topical analysis from Agricola, culling of sentences, proverbs, and figures from Erasmus to furnish copious words and matter; learning the progymnasmata from Aphthonius to build complex verbal structures—then goes on to demonstrate how this training gave the writer a formal grammar by which to register the movements of a thinking mind. Thus an artificial method of reading and writing enabled the mimesis of natural human discourse. Mack adroitly showcases this insight through a close reading of De I inconstance de nos actions, whose very theme signals Montaigne's manner of stating a position—his own or his author s—then responding defensively or critically with historical and poetic examples, 98 RHETORICA contemporary anecdotes, Latin verses, and personal reflections, each of which subtly modifies its predecessor. He is Montaigne still, but becomes much more legible as we recognize the tools he's using to form his judgment. When he cited other men's words, Montaigne wrote, they were no longer theirs but his. In Chapter 2, "Montaigne's Use of His Reading," Mack shows in fine detail how Montaigne manipulates his sources to elaborate themes, strengthen them, and fashion oppositions that open them to fresh consideration. Sometimes he will wrest a line slyly from its context, as in Que philosopher c'est apprendre à mourir, where he quotes Ovid's "When I die I would like it to be in the middle of my work" to reinforce the wish that death might come amidst ordinary toil; in Amores 2.10.36, the work is sexual. In De la vanité, he quotes Horace at length on exercising moderation so as to owe little to Fortune, then drains that stance of self-satisfaction by warning, "But watch out for the snag! Hundreds founder within the harbour." More powerfully still, in Des coches he uses material from Lôpez de Gômara's Histoiregénéralle des Indes occidentales to turn its boastful message of conquest into a critique of European cruelty in the New World. In Chapter 3, "Montaigne's logic of fragment and sequence," Mack walks us through the temporal accretions and logical structures of two early essays, Book I's Des menteurs and Par diverse moyens on arrive a pareille fin, then focuses on the intellectual and emotional logic of a section of the longer De la vanité of Book III. Diagramming all three essays, he provides us with...

Reviews 443 Stephen McKenna, Adam Smith: The Rhetoric of Propriety (Rhetoric in the Modern Era), Albany: State University of New York Press, 2006. x + 184 pp. ISBN 0-7914-6581-0 In a roundabout effort at offering praise, allow me to preface this review with information about the reviewer. I value histories that connect Adam Smith s "neoclassical aesthetic values"—such as "propriety and taste"—to social dynamics such as "class difference." McKenna derides this work as z reductivist" and "inadequate by itself" (p. 57), opting instead to focus on the history of ideas, the long intellectual heritage behind Smith's rhetorical theory. Despite reservations about such intellectual history, I admire Adam Smith: The Rhetoric ofPropriety. The question arises: What has McKenna done to impress this otherwise skeptical reviewer? To begin with, McKenna uncovers and explores Smith's debt to past rhetoricians, such as Plato, Gorgias, Aristotle, and Cicero. After summarily dismissing Marxist and post-structuralist accounts of propriety, McKenna explains why Adam Smith's rhetorical theory should be glossed in ancient Greek and Latin. Previous scholarship has depicted Smith as a "new" or "neo­ classical" rhetorician. Following others, such as Gloria Vivenza, McKenna chronicles Smith's dependence on earlier sources, particularly his ground­ ing in classical rhetoric. If Smith is among the first modern social scientists, then not just Smith himself, but economics and sociology as well, owe a debt to classical rhetorical theory. McKenna focuses on six precepts that characterize a classical view of propriety and that were appropriated by Adam Smith. In this genealogy, propriety 1) participates in the natural order of things, 2) is often recognized through the visual senses, 3) leads to a pleasurable aesthetic experience, 4) requires public performance, 5) involves a mean between extremes, 6) and depends upon circumstances (pp. 28-29). McKenna follows traditional tributaries as they feed an 18th-century British stream of rhetorical theory. For instance, the arch-stylist Gorgias feeds into David Hume's epistemological skepticism and the Scotsman's attention to pathetic appeal (pp. 31-32). Plato's insistence that propriety include a regard for the different types of soul contributes to Adam Smith's effort at promoting a stylistic plasticity able to mold various character types (p. 36). McKenna also follows contemporary contributions to Smith's rhetorical theory. In the writings of John Locke and the Royal Society, we see propriety defined in terms of the "plain style" so popular among empirical scientists. In the writings of Frances Hutcheson and Anthony Ashley Cooper, Third Earl of Shaftesbury, we witness a relation among notions of "common sense,' rhetorical propriety, and the moral/aesthetic sensibility. Bernard Lamy and François Fénelon attend to propriety's aesthetic dimension, thus influencing Henry Home Lord Karnes, David Hume, and Joseph Addison. McKenna reminds his reader that Adam Smith remains the focal point by explaining how Smith positioned his own work on propriety against this lively and discordant set of voices. For instance, M^cKenna explains that Smith set 444 RHETORICA himself against Hutcheson and Fénelon by denying an innate moral sense, yet Smith readily adopted Lamy's contention that people recognize propriety through the visual senses (pp. 62-64). Chapters 2 and 3 amount to a narratio of past and contemporary sources to prepare the reader for McKenna's remaining confirmatio about Smith's rhetorical theory The last two substantive chapters treat Adam Smith's Lectures on Rhetoric and Belles Lettres alongside his Theory ofMoral Sentiments, arguing against the common scholarly belief that the Theory laid the moral and ethical ground­ work for the Lectures. Rather, McKenna contends that the Lectures underpin the Theory by exploring "the basic elements of human thought and action," which make ethical behavior possible (p. 76). McKenna also explains that Smith brought something new to the conversation about propriety: "Smith's idea that the intention to communicate a given passion or affection originates in sympathy is an entirely new contribution to the theory of the rhetorical propriety" (p. 88). Seemingly mundane moments, such as Smith's extensive discussion of direct and indirect description, become fascinating when seen through McKenna's illuminating perspective. Allow one extended quote to exemplify but by no means exhaustively capture the...

Book Review| February 01 2011 Review: Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice, by Ruth Webb Ruth WebbEkphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Surrey, England: Ashgate, 2009. 238 pp. ISBN 9780754661252. Rhetorica (2011) 29 (1): 113–115. https://doi.org/10.1525/RH.2011.29.1.113 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: Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice, by Ruth Webb. Rhetorica 1 February 2011; 29 (1): 113–115. doi: https://doi.org/10.1525/RH.2011.29.1.113 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. © 2011 by The International Society for the History of Rhetoric. All rights reserved.2011 Article PDF first page preview Close Modal You do not currently have access to this content.

108 RHETORICA thinkers? No wonder Kirby opines “Quot lectores, tot Platones": There are as many Platos as there are readers of him. McCoy's reading of various dialogues is "partial" both in the sense of partisan and less-than-the-whole. But so are all readings of Plato. To disagree with McCoy over particulars strikes me as simply reflecting the fact that her Plato is not my Plato. I suspect many readers may be persuaded that the most consistent means by which Plato distinguishes sophists from philosophers is by their moral purpose without accepting that Plato's account is true (something McCoy does not claim), and perhaps insisting that the most compelling reading of certain dialogues requires us to accept that Plato did, in fact, try to distinguish the two on other grounds, including by method and doctrine. It is to McCoy's credit that she demonstrates familiarity with a broader body of literature than most philosophers who deal with Plato. Readers of Rhetorica will appreciate McCoy's account as a healthy counterpart to the long tradition ofbooks by philosophers that take every opportunity to equate sophists and rhetoric to the detriment of both. Her book should encourage historians of rhetoric who have not examined certain dialogues as part of the canon of rhetorical theory to include a greater variety of Plato's texts. Lastly, by portraying Plato as a sophisticated rhetor, McCoy facilitates a more candid assessment of what she describes as his most consistent theme. After all, if one does not believe in the forms (that is, if one is not a Platonist), then the only difference between sophist and philosopher is the latter's authentic concern for other people. The fact that Plato's rhetoric privileges Socrates in this regard no longer seems a compelling reason for us to do the same. Edward Schiappa University ofMinnesota Casper C. de Jonge, Between Grammar and Rhetoric: Dionysius of Hali­ carnassus on Language, Linguistics and Literature (Mnemosyne Supple­ ments 301), Leiden: Brill, 2008. xiii + 456 pp. ISBN 9789004166776 Dionysius of Halicarnassus was a Greek intellectual active in Rome in the last decades of the first century bce. Not all of his writings have survived, but those that do include (as well a lengthy work on Roman history) a substantial and interesting corpus of literary and rhetorical criticism, including studies of the classical orators and Thucydides, and a treatise on style (On Composition). Modern scholarship has often treated him with scant respect, but he has begun to be taken more seriously in recent decades. Building on that work, and contributing a distinctive anci original approach of his own, de Jonge has achieved a remarkable further advance in our understanding. His focus is on Dionysius' integration of ideas from the whole range of language disciplines—philology, technical grammar, philosophy Reviews 109 and rhetoric; metrics and musical theory also make appearances, though they are less central to de Jonge's enquiry. After an introductory chapter, de Jonge examines Dionysius' general conception of the nature of language; his treatment of the grammatical theory of the parts of speech, and his critical application of this theory; the theory of natural word-order; similarities and differences between poetry and prose; and Dionysius' use of experimental alterations to word order (metathesis, or "transposition") as a tool of practical criticism. One of the study's aims is to use Dionysius as a source for the state of the language disciplines in the late first century (for the most part known only from sparse fragments), and in particular to illustrate the close connections between these disciplines. But in reconstructing the intellectual context of Dionysius' work, de Jonge prudently resists the temptations (traditionally irresistible to classicists) of Quellenforschung: "instead of assigning partic­ ular passages from Dionysius' works to specific 'sources', I will point to the possible connections between Dionysius' discourse and that of earlier and contemporary scholars of various backgrounds" (pp. 7-8). This restraint does not preclude good observations on specific influences: in particular, there is a powerful argument for the view that Dionysius had read, and been influenced by, Cicero (p. 15, pp. 215-16). A second methodological commitment is the adoption of an "external rather than an...

Reviews 113 Ruth Webb, Ekphrasis, Imagination and Persuasion in Ancient Rhetorical Theory and Practice. Surrey, England: Ashgate, 2009. 238 pp. ISBN 9780754661252 The topic of ekphrasis has garnered much attention of late among classi­ cists, literary critics, and visual theorists—so much so that the bibliography on the subject has become unwieldy. Is ekphrasis a humble elementary exer­ cise in description? A w idely encompassing topos for the agon between word and image? An ancient nexus of speculation on the complexities of represen­ tation and the psychology of reception? Bringing together these perspectives and more, Ruth Webb's comprehensive treatment of ekphrasis from a rhetor­ ical point of view will be of interest to historians of ancient Greek and Roman rhetoric but may prove to be less than completely satisfying to those readers who have been following the critical explorations of the term of late. Webb begins with a strong argument: a proper understanding of ekphra­ sis should be grounded in the definition of the term offered in the rhetorical manuals of the imperial period, the 1st to the 5th centuries of the Common Era. Working closely with the Progynmasnmta of Theon, Ps.-Hermogenes, Aphthonios, and Nikolaos, as well as with rich material on the subject in the more advanced treatises by Quintilian, Ps.-Longinus, and Menander Rhetor, Webb insists that ekphrasis be considered in terms of effect rather than sub­ ject matter: it is "a speech that brings the subject matter vividly before the eyes" (Introduction and Chapter 1, "The Contexts of Ekphrasis"). She argues vigorously against a tendency she finds in modern criticism to see ekphraseis as descriptions of art works or as opportunities to explore ideas about the act of viewing in antiquity. Tier careful treatment of the handbook material— usefully presented in Greek and English in two appendices—focuses the reader's attention on enargeia. A vivid impression could be achieved through the detailed description, or narration, of many subjects, including activities such as battles, storms, plagues, earthquakes, and festivals, not only through descriptions of objects such as paintings, sculptures, and architectural won­ ders. Chapter 1 proceeds with historical evidence for a drift in scholarly treatments of ekphrasis away from the ancient rhetorical definition in the writings of nineteenth-century French art historians. A key moment of rupture in the mid-twentieth century for Webb is Leo Spitzer's appropriation of "ekphrasis" to designate a poetic genre. From here, writes Webb, "the rest is history," as ekphrasis is "catapulted" out of "the specialized domain of classical [sic] and archaeology into the world of English and Comparative Literature" (p. 35). The lapsarian tone of the narra­ tive at this point may startle readers who value interdisciplinary approaches to rhetoric and visual theorists who have left new critical poetics behind. The implication that all subsequent treatments of ekphrasis by literary scholars follow Spitzer's new critical lead is inaccurate and unhelpful (see p. 35 n. 63). In the penultimate chapter, Webb acknowledges recent writing on ekphra­ sis from classical scholars working on the ancient Greek novel (by Shadi Bartsch, Jas Eisner, Elelen Morales, Tim Whitmarsh, and others: see p. 178 114 RHETORICA and nn. 27 and 28). Influenced by literary theories such as semiotics, fem­ inism, and post-structuralism, these works, like those of scholars (notably W. J. T. Mitchell) from other humanities disciplines intersect in many ways with the perspectives developed later in Webb's book, but Webb does not pause to consider how they complicate the ancient vs. modern definitional agon driving her argument early on. As she aptly observes, "The connec­ tion between ekphrasis and the idea of visual representation ... runs deep" (p. 53), thus her lack of engagement with scholars exploring that very idea is puzzling. Webb is on firmer ground as she returns to a detailed examination of the treatment of ekphrasis in the handbooks (Chapter 2, "Learning Ekphra­ sis: The Progymnasmata). Emphasizing rhetorical production, she focuses on ekphrasis as "the exercise which taught students how to use vivid evocation and imagery in their speeches" (p. 53) rather than the static reproduction of set passages. Webb here makes an illuminating connection between ekphra­ sis and narrative, citing passages in which the speaker becomes...

340 RHETORICA to be monitored by the community and that is balanced by an ethics, psy­ chology, and political theory emphasizing isolated, estranged, and restive individuals (pp. 142-45). The image of the modern Lockean individual that Vogt advances is that of the chastened explorer, conscious of the perils of the voyage of discovery undertaken with imperfect tools, but confident in his ability to overcome as yet unknown challenges. Vogt attempts to formulate a strong version of Lockean modernity in order to shed light on what he terms "the strong attack on Lockean modernity" that he perceives in the work of Burke, Schopenhauer, and Nietzsche (p. 6). In those thinkers there is, for Vogt, a more precise pessimism. In their hands, Locke's nautical metaphors entail a much greater risk of disorientation. In this reading, the Burkean sublime is a chaste riposte to Locke's cheerful analogizing, a critique of even a figural empiricism's ability to deal with the measureless. Vogt reads the marine paintings of Caspar David Friedrich and J. M. W. Turner to undermine the notion that maritime life is a storehouse of figures that stand for challenges overcome. Many of the things that Vogt has to say with regard to this strong attack on the strong version of Lockean modernity are suggestive. But it is not clear that a monograph on Locke was the best place to explore these complex issues with the sustained attention that they deserve. David L. Marshall Kettering University Juliet Cummins and David Burchell (eds.), Science, Literature and Rhetoric in Early Modern England (Literary and Scientific Cultures of Early Modernity Series), Aldershot (England) and Burlington (Ver­ mont): Ashgate, 2007. 241 pp. ISBN: 9780754657811 The intent of this collection of essays is to "present new insights" about the "interaction of science, literature and rhetoric" in the development, reception, and dissemination of scientific knowledge in early modernity. The studies emanate from a symposium of scholars held at the University of Western Sydney, Australia. The editors promise in the introduction a wide angled book that will encompass the cultural, political, and social elements of the new science. This has been accomplished to a large degree, even if at times the treatment is a bit parochial in its regional view of science and narrow historical perspective. In addition, rhetoric, left undefined, permits a diffuse sense of the term, and a vague notion that it pervades discourse. But despite these shortcomings, the book offers a rich, lively, innovative collection of essays that illuminate selected literary texts of the period. Several of the essays stand out for their clarity and scholarship. Peter Harrison's "Truth, Utility, and the Natural Sciences in Early Modern Eng­ land" avoids parochialism in its treatment of changing opinions regarding Reviews 341 natural science vis a vis the humanities. Harrison begins his essay with Sir Philip Sidney's weighing of knowledge for its moral usefulness and his elevation of the particular as key to understanding the universal in "The Defence of Poesy. Earlier the studia }iu matiitutis had revamped education for its social and moral utility as well (p. 17). The essay, with apt illustrations from the writings of the virtuosi and their commentators, shows that a similar moral evaluation was being applied to the study of natural philosophy in the seventeenth and early eighteenth centuries. The discipline was thought to aid in the development of virtue through the habits of careful study required of its practitioners. And it turned minds to regard the purpose of their labors as the betterment of mankind. Thus, the moral value of the philosophers' work eventually made the occupation socially acceptable, despite critics' ridicule of experiments performed at meetings of the Royal Society. With impressive erudition, David Burchell analyzes Hobbes' style and its debt to both Seneca and Cicero. His essay, '"A Plain Blunt Man'; Hobbes, Science, and Rhetoric Revisited," has only a tenuous connection to science, but it clarifies the relation of rhetoric to science in the period. Burchell successfully rebuts those who have claimed that Hobbes rejected rhetoric and adopted instead a "clear and perspicuous" style to foster better scientific debate. Burchell shows that Hobbes had, instead, a very broad knowledge of rhetoric and used different...

232 RHETORICA Christine Mason Sutherland, The Eloquence of Mary Astell, Calgary: University of Calgary Press, 2005. xxi + 202pp. ISBN 1552381536; Jen­ nifer Richards and Alison Thorne, eds., Rhetoric, Women and Politics in Early Modern England, London and New York: Routledge, 2007. x + 254pp. ISBN 978-0-415-38527-5; Jennifer Richards, Rhetoric (The New Critical Idiom), London and New York: Routledge, 2008.198pp. ISBN 978-0-415-31436-7 If early modern men were educated to speak, then early modern women were educated (if at all) to be silent, and the three books under review add to the still growing pile in which modern feminist historians—educated, of course, to be highly articulate—try to negotiate this difficult and troubling fact. They do so in various ways. Christine Sutherland, for example, presents the learned and prolific Mary Astell (1666-1731) as a remarkable exception to the rule. As she is the first to admit, even those enlightened humanist figures who had argued for female education in the sixteenth century did not go so far as to allow women to speak in public or to argue in print. Rather, they endorsed a silence that was, in Sutherland's words, "the feminine equivalent of the masculine virtue of eloquence" (p. 18). In spite of this cultural discour­ agement, however, and a class position that offered her no privileges to speak of, Mary Astell devoted her life to writing—and publishing—a series of re­ ligious, philosophical, and political works. Sutherland's main justification in presenting her subject as above all else a "practising rhetorician" (p. 53) is her claim that, in the course of her writing career, Astell moved from the relatively private genre of sermo to the more public genre of contentio, these two literary modes being gendered as "feminine" and "masculine" respec­ tively. In terms of Astell's publications—which range from works published in the letter format (such as her—originally private—correspondence with John Norris, published anonymously as Letters Concerning the Love ofGod, or her Serious Proposal to the Ladies, addressed to high-ranking women) to what were effectively treatises addressed to a wider reading public (such as Some Reflections upon Marriage, The Christian Religion, or her political pamphlets), this is not particularly contentious. There are times, however, when I think Sutherland overstates her case. The fact, for example, that Astell adapts her style and tone according to her destined audience—developing a "tender" and "maternal" voice when addressing a specifically female readership, and a more strident, argumentative one for everyone else—certainly demon­ strates a sensitivity to and understanding of decorum on her part, but is not in itself the major contribution to rhetorical theory that is claimed for it. This book also shows a (sometimes explicit) tendency toward self-reflection: that is to say, what makes Astell so remarkable a figure—and the natural choice of subject for a book of this kind—seems to be precisely the wav in which she comes to exemplify the feminist writer (otherwise so absent from the early modern scene) and to mirror the feminist academic who is writing or reading about her. Thus Astell's correspondence with Norris, for Reviews 233 example, is said to be an experience of further education that we might compare with the modern graduate school" (p. 42), and to have the same qualities as most good tutorial relationships" (p. 48); the letter-writing that she cultivated was the early modern equivalent of publishing in "learned journals (p. xx, citing with approval an article by Judith Rice Henderson). In her political pamphlets Astell emerges as the model scholar who "had read all the relevant books and documents, had studied all the arguments, and above all was thoroughly familiar with the historical background" (p. 117). By the end of the book, Astell is presented as being of "benefit" to "modern feminist scholars" precisely because she is "one of the earliest of their kind" (p. 153). This is not in any way to diminish Astell's achievement, of course, but only to raise the concern that, in situations where the reader is invited to identify with the subject in hand, a degree of critical distance might be...

This article argues that the conceptualization of the notions of character and characterization in ancient rhetorical treatises can serve as a hermeneutical tool for the analysis of characterization in narrative literature. It offers an analysis of ancient rhetorical loci and techniques of character depiction and points out that ancient rhetorical theory discusses direct, metaphorical, and metonymical techniques of characterization. Ultimately, it provides the modern scholar with a paradigm for the analysis of characterization in (ancient) narrative literature.

John Nicholson's The Preceptor is the first book dedicated to an explicitly Mormon rhetorical theory, which he attempts to employ in the troubled landscape of LDS missionary training. This essay examines Nicholson's advice to missionaries, and argues that The Preceptor links logos and the Holy Spirit together in homiletic division of labor, connecting traditional Christian preaching with indigenous Mormon style and theology. By studying The Preceptor we can gain an appreciation for how rhetorical theories develop specific features that reflect a particular culture's location in history and society, and examine a rhetoric that served as an alternative to mainstream American religious and secular rhetorical development.

John Nicholson’s The Preceptor is the first book dedicated to an explicitly Mormon rhetorical theory, which he attempts to employ in the troubled landscape of LDS missionary training. This essay examines Nicholson’s advice to missionaries, and argues that The Preceptor links logos and the Holy Spirit together in homiletic division of labor, connecting traditional Christian preaching with indigenous Mormon style and theology. By studying The Preceptor we can gain an appreciation for how rhetorical theories develop specific features that reflect a particular culture’s location in history and society, and examine a rhetoric that served as an alternative to mainstream American religious and secular rhetorical development.

Abstract Milton's regicide tracts of 1649, The Tenure, Observations, and Eikonoklastes, are recombinations of two of his most familiar compositional modes of the 1640s, the oration and the animadversion, tactics derived ultimately from classical rhetorical theory and Renaissance assimilations of it. Each tract also displays a poeticized rhetoric which represents Milton's signature adaptation of the close relationship between rhetoric and poetic found in classical and Renaissance rhetorical texts. Evidence for these claims can be found in the structures, styles, and aesthetic manifestations of all three pamphlets, particularly the classical low and middle styles, the formulaic mechanism of quotation and reply, and the prose genre of the Character.

Reviews David C. Mirhady, ed., Influences on Peripatetic Rhetoric: Essays in Honor of William W. Fortenbaugh. Leiden: Brill, 2007. viii + 282 pp. This valuable collection of fourteen essays divides itself naturally into two parts: those which conform strictly to its title (1, 2, 3, 5, 8,11,13), and the rest, which focus on Aristotle's Rhetoric (4, 14), Rhetorica Ad Alexandrian (6) and post-Aristotelian topics (7, 9, 10, 12). Mirhady's Introduction assembles the diverse elements that inform the book very skilfully: the present state of scholarship, the historical background, a synopsis of the contents of Aristotle Rhetoric and the Rhetorica Ad Alexandrian, and summaries of the fourteen chapters. Dirk Schenkeveld, Theory and Practice in Fourth-Century Eloquence, is con­ cerned with a particular feature, mainly of deliberative oratory: the speaker's adoption of a didactic tone, usually when introducing a key narrative or ar­ gument. He does not consider whether this tone is a function of the characters of its two chief proponents, Isocrates, who was a teacher, and Demosthenes, who was famously superior in his attitude to his audiences and opponents; while the examples in Lysias look suspiciously formulaic. These character­ istics would go some way to explaining the absence of recommendations for them from the theorists. In Ethos in Persuasion and in Musical Education in Plato and Aristotle, Eckart Schutrumpf finds the latter's proposition that a speaker's good character is by itself a device of persuasion too simplistic compared with the examination conducted by Plato, in whose Gorgias and Protagoras audiences are seen as more susceptible to purely rhetorical skills than to a speaker's perceived moral qualities. Schutrumpf traces a development in Plato's attitude to persuasion, with the need to replace it by force being increasingly considered. Aristotle consistently takes a more optimistic view of human nature. David Mirhady, Aristotle's Enthynienie, Thymos, and Plato, sets out to establish the emotional content of the Aristotelian enthymeme by reference to its etymology. After admitting that the verb had come to mean no more than 'consider,' Mirhady argues that the enthymeme connotes "a form of cognitive activity that takes place in the context of emotional response.'' But the enthymeme is concerned with emotions only in so far as the human experiences from which it draws its premisses have emotional content, and for Aristotle it is always closer to logic (the syllogism) than to the irrational Rhetorica, Vol. XXVII, Issue 2, pp. 218—234, ISSN 0734-8584, electronic ISSN 15338541 . ©2009 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. DO1: 10.1525/RH.200A27.2.218. Reviews 219 thoughts and actions of the thymos. In his Techniques of Proof in 4th Century Rhctoiic, Tobias Rheinhardt finds connections between Aristotle s Rhetoric, his dialectical theory' in the Topics, and the Rhetorica Ad Alexandrum in respect of arguments related to some of the standard themes of deliberative and forensic oratory; This chapter begins and ends with a welcome reassertion of the view that the birth of rhetorical theory is to be assigned firmly to the Fifth Century: a fact which can easily be established by noticing the recurrence of a wide array of technical proofs and topoi in Antiphon and the early speeches how Aristotle defines an ideal written text as one which is susceptible to oral performance, and that epideictic oratory is aimed at an audience which is both spectator and critic, who dissects a discourse and passes judgement on the question of whether the author/speaker has discovered all the possible means of persuasion. She notes that Aristotle differs from his predecessors in distinguishing between styles suitable for deliberative and forensic oratory. Her study also clarifies several of the obscurities in Aristotle's account of these styles by reconciling different parts of it. In Carl Werner Muller's Der Euripideische Philoktet und Die Rhetorik des 4. Jnhrhunderts the starting-point is Dion of Prusa's opinion that the rhetorical content of Euripides Philoctetes distinguishes it from its Aeschylean and...

Reviews 231 Caroline van Eck, Classical Rhetoric and the Visual Arts in Early Modern Europe. Cambridge University Press: Cambridge & New York, 2007 225 pp. The central claim of Caroline van Eek's new book is that classical rhetoric s treatment of the non-verbal and figurative aspects of persuasive communication influenced both the producers and consumers of visual art and architecture in early modern Europe. Primarily drawing on discussions of gesture and image in Quintilian and Cicero (but also Aristotle and Long­ inus), van Eck links what she sees as the primary aim of oratory—vivid representation, enarycia—to the v isual realm of image making. Classical rhetoricians who argued that figurative language and gesture enabled or­ ators to bring their subject to life before the eyes (and the mind's eye) gave early modern artists and spectators a framework within which to create and experience visual art. The argument of the book is that classical rhetoric and early modern visual art share an emphasis on figuration, defined by van Eck as "giving an outward, visible shape to emotion, thoughts or memories that creates the illusion of human life and agency" (p. 9). Attending to figuration by viewing early modern v isual art through the lens of rhetoric rather than post-Kantian aesthetics, van Eck argues, offers a better understanding of the socio-cultural function of art in the period. After making the case for a connection between rhetoric and the visual arts in the Introduction, van Eck devotes the first section of the book to theory. The two chapters that make up this section offer detailed readings of Alberti's De Pictura and three Italian Renaissance architectural treatises, by Vincenzo Scamozzi, Gherardo Spini, and Daniel Barbaro. The discussion of Alberti is focused on linking the representational character of painting to the role of representation in rhetorical theory. While there is little doubt that visual artists were concerned with representation, van Eck argues that the role of persuasion in that representative enterprise has not been adequately explored. Similarly, while the persuasive aspect of oratory is an obvious focus of classical rhetorical theory, it is the goal of vividly representing human activity that made rhetoric an important conceptual toolbox for an art theorist like Alberti. Viewed in this way, rhetoric and visual art share common ground in seeking to bring to life that which is absent. The argument is compelling, though the emphasis on painting as per­ suasive representation elides aesthetic considerations in favor of an under­ standing of artistic practice as a form of interested communication. Of course, this is van Eek's point: that the influence of Kantian aesthetics (particularly the disinterested appreciation of the beautiful) on art history has obscured the value early modern artists and spectators placed on the ability of an artwork to move or persuade. In pointing out the historical difference sep­ arating Renaissance and Enlightenment subjects, van Eck reveals interesting connections between rhetoric and the visual arts. If there is a limitation to the approach it is in van Eek's tendency to subordinate pleasing or delightful aspects of the work of art to its ability to persuade. This tendency takes 232 RHETORICA the discussion away from the particularities of individual works of art in the service of demonstrating the consistent, but more general emphasis on vividness of representation. If some of the discussion of representation is overly general, the same cannot be said about the van Eek's treatment of her specialty, architectural theory When she turns to architecture in the second chapter, for example, the discussion takes on a less speculative and more scholarly tone. This may stem from the fact that the attitude toward architecture that she hopes to reveal is by her own admission "rarely made explicit" in the period (p. 31). To uncover the hidden relationship between rhetoric and architecture she turns to the somewhat neglected work of Spini, Barbaro, and Scamozzi. What van Eck finds in these treatises is relatively clear evidence of the direct influence of classical rhetorical authorities on the three authors' conceptualization of architecture as a persuasive art form intimately linked to human knowledge and activity. Yet the concentration on three minor works begs the question...

Reviews 225 aggiornata bibliografía, offrono un panorama orgánico e articolato della straordinaria vitalita della forma declamazione e della sua adattabilitá ai contesti storici e cultuiali piú vari. 1 risultati della ricerca, innovativi e propositi\i, confeimano la finalitá dei seminari, di esplorare la complessitá di un filone di studi particolarmente fertile e ricco di spunti. Graziana Brescia Università di Foggia Delphine Reguig-Naya, Le Corps des Idées: Pensées et Poétiques du Langage dans l'Augustinisme de Port-Royal. Arnauld, Nicole, Pascal, Mme de La Fayette, Racine. Paris: Honoré Champion, 2007. 836 pp. Hannah Dawson, Locke, Language, and Early-Modern Philosophy. Cam­ bridge: Cambridge University Press, 2007. 361 pp. Alberto Bordogna, Gli Idoli del Foro: Retorica e Mito nel Pensiero di Giambattista Vico. Rome: Aracne, 2007. 171 pp. Recently, a number of books have appeared that restate more precisely the terms of the debate that enveloped rhetoric in the period of its occlusion between approximately 1650 and 1800. For decades historians of rhetoric have been conscious of the broad and virulent attack on rhetoric, both as practice and as theory, in the seventeenth and eighteenth centuries. In com­ parison to its centrality in the Renaissance and its conspicuous reinvention in late modernity, the decline of rhetoric in the intervening period is striking. Yet increasingly scholars have begun to show that any history of rhetoric in this period must go beyond the headline critiques of the art of persuasion mounted by many of the leading philosophical authorities of the age. Indeed, a number of sophisticated studies have begun to appear that trace the ironic afterlife of rhetorical categories in intellectual projects that both emblematize eighteenth-century inquiry and eschew any overt allegiance to rhetoric as a disciplinary formation (see David L. Marshall, "Early Modern Rhetoric: Recent Research in German, Italian, French, and English," Intellectual History Review 17 (2007): 75-93). This review examines some of the issues involved in the problem of language in early modern thought by tracing them through recent work on Port-Royal, Locke, Vico, and—briefly—Herder. As Delphine Reguig-Naya attests time and again in her recent treatment of Port-Royal writers on the subject of language, the ideal for thinkers such as Antoine Arnauld and Pierre Nicole is often a kind of transparency in which language becomes a window on the mind free from distortion (p. 35). Thought is presumed to exist independently of its expression and, as a result, the task of expression is to render faithfully something already fully formed internally. This basic assumption about the separability of thought and language is related to a series of other points of departure that mark the Port-Royal school and figure prominently in many early modern critiques of 226 RHETORICA rhetorical assumptions about language: that the word and not the sentence is the more basic linguistic unit (p. 39), that syntax ought to mirror the structure of thought (p. 73), that representations arrived at arbitrarily are preferable to the lines of inquiry set in motion by the myriad formulations of resemblance (p. 93), that the mind moves much more quickly than speech and on a different track (p. 187), and that the equivocation of terms is the most dangerous problem posed by the embodiment of thought in signs (p. 195). Yet precisely because Port-Royalist anthropology owed so much to the Christian sense of the fall, rhetoric is also understood to be inevitable. If the sensuality of rhetorical address is suspect, it can (and must) be used on behalf of the good. Thus, even if enthymemes are characteristic of the kind of compromises and abbreviations that the tongue must make in order to keep pace with the brain, they are also so natural that they cannot simply be legislated out of existence (p. 63). Likewise, despite its reliance on the equivocating quality of resemblance, metaphor is endemic in language (p. 470). If the traditional domain of rhetorical self-consciousness—direct oral exchange—is more dangerous because of the diversity and potency of the various sensual media in play, the Port-Royalists place an equally rhetorical emphasis on the particular form of language that was the staple of hermeneutic activity—namely, textual...

Milton’s regicide tracts of 1649, The Tenure, Observations, and Eikonoklastes, are recombinations of two of his most familiar compositional modes of the 1640s, the oration and the animadversion, tactics derived ultimately from classical rhetorical theory and Renaissance assimilations of it. Each tract also displays a poeticized rhetoric which represents Milton’s signature adaptation of the close relationship between rhetoric and poetic found in classical and Renaissance rhetorical texts. Evidence for these claims can be found in the structures, styles, and aesthetic manifestations of all three pamphlets, particularly the classical low and middle styles, the formulaic mechanism of quotation and reply, and the prose genre of the Character.

Reviews 233 allows for a comparison so general, one might doubt its usefulness. “Painting is really like poetry/' van Eck writes, “because both arts are inventions that make appear things that do not exist" (p. 68). Yet the point of van Eek's book is not to show how painting and architecture are the same as rhetoric, but how a culture saturated with the lessons of classical rhetoric influenced the creation and reception of visual art. In fact, rather than primarily focusing on works of visual art and architecture, the book is actually more concerned with the way early modern artists, architects, and spectators spoke and wrote about the visual arts. This is the book's strength, as example after example reveals that classical rhetorical theory provided a rich mine for both artists seeking to describe their method and spectators accounting for their reaction to the artwork. The discussion (in chapter fixe) of poetic responses to the discovery of the Lnocoon statue in 1506 is particularly interesting in this regard. The responses laud the power of the statue to move the viewer while drawing on the language of classical rhetorical theorv. As a whole van Eek's studv is a compelling and welcome contribution to the growing body of work on earlv modern visual culture, broadly defined. Through careful readings of a v ariety of early modern texts about art and architecture from England and Italy, she is able to show how rhetoric influ­ enced the theory, practice and reception of the visual arts. The book serves as a correctiv e to art historical approaches based on theories of aesthetics and style after Kant that downplay the instrumental character of much early modern art. To accomplish this, though, the variety of rhetorical theory is necessarily placed in the background to allow for the common threads that tie rhetoric to the v isual arts in van Eek's account to come into relief. For those interested in early modern European visual culture this will seem a small price to pay. James A. Knapp Eastern Michigan University Susan Miller, Trust in Texts: A Different History ofRhetoric. Carbondale, IL: Southern Illinois University Press, 2008. xiv + 224 pp. This is an astute, ingenious, and inclusive survey of the contemporary Anglophone discussion that centers on what Miller considers the rhetorical core: that is, pedagogy, training for discursive performance—either in civil affairs or in "self-fashioning," techniques of representation of the practi­ tioner for both public and private motives. That is, both teaching-practice and practice-practice. Tier vital distinction is the prefix meta . rhetoric engages "multiple metadiscourses derived from ritual, imaginative, affil iative practices" (p. 1). Rhetoric as pedagogy is obviously meta-discourse, discourse about discourse; it can, or should, invest in meta-discursive 234 RHETORICA controlling, important—discourses that form and are formed by vital, specific life-interests. On the one hand, the multiple metadiscourses are practices 1) "that we trust for their well-supported and reasoned statements", or 2) "for their participation in infrastructures of trustworthiness," products of "special plane[s] of understanding, and [their] consequences" (p. 2). But, on the other hand, pedagogy, as schooling in the conditions of trust, deals also with trust, not in reason and the shared infrastructure, but with uncertainty, bad faith; it functions "symbolically and charismatically" (p. 3), it can be a "retreat to the orphic" (p. 147). Still, it is always creating "contexts for choice" in an "emergent present" (p. 3) responding—she cites John O. Ward—to "distinct market niches" (p. 4), or, preferably to universal/human, national, global niches. Thus, rhetoric is hegemonous: powerful in its contribution to "productivity and stature of the present [whatever] age," or to "the circulation of contemporary values" (p. 37). As hegemonous, omnicompetent: the study considers political ideolo­ gies, literary aspirations, social ambitions, power contests, gender definings, genre strategies. Rhetoric can be reformulated as concerned with "ad hoc, class-based, experiential, and especially educational bonds that enable per­ suasion" (p. 53). Anything, in short, "crucial to monitoring, reprocessing, and delivering the limits of trust" (p. 5). There is, as well, a very strong emphasis on the pertinent contributions of emotional as well as cognitive capacities. Indeed, a large...

This essay inquires into the meaning and usage of eikos, an important term in early Greek rhetorical theory Based on a survey of 394 uses of the verb eoika (of which eikos is the neuter perfect participle) in texts ranging from Homer to Isocrates, it argues that the traditional translation of eikos as "probability" is in some ways misleading. Specifically, the essay proposes: 1) that "to be similar" is the core meaning of eoika, 2) that all other senses of eoika can be seen as extensions of the "similarity" sense, 3) that the "befittingness" sense of eikos continued to be of great importance in the early Attic orators, and 4) that the sense of eikos as that which is befitting or socially expected, and the sense of eikos as that which is verisimilar, work in tandem in the "profiling" strategy of some eikos arguments.

444 RHETORICA Linda Ferreira-Buckley and S. Michael Halloran, eds. Hugh Blair, Lectures on Rhetoric and Belles Lettres (Carbondale: Southern Illinois University Press, 2005). In the "Editors' Introduction" to this new edition of Blair's Lectures on Rhetoric and Belles Lettres, Linda Ferreira-Buckley and S. Michael Halloran present an impressive overview of Blair's life, work, and legacy. They trace the publication, reception, and influence of the Lectures, providing partic­ ularly insightful discussion of the multitude of abridgements and derivative works that represented Blair's work to so many. They sketch Blair's early education and his university training, then lead readers through his life as a preacher, man of letters, and university lecturer. Finally, they assess Blair's place in the history of eighteenth-century rhetorical theory. The "Introduction" provides an authoritative survey of scholarship on some of the key issues related to Blair's work including Blair's influence on the teaching of writing in universities, on the emerging discipline of literary criticism, and on the continuing shift of the focus of rhetorical theory from oral declamation to written language (especially belles lettres). FerreiraBuckley and Halloran's extensive research in archival materials related to Blair's career and published work allows them to contribute new insights to all of these lines of inquiry. This reader found particularly interesting their reminder that Blair's Lectures not only informed later college curricula but also played a significant role in "schools, in literary societies and clubs, and in home study" (xxi). An annotated copy of the Lectures in St. Andrews University's rare book collection, for instance, provides evidence of the ways that individuals studied and used the Lectures, and I wanted to hear more about that body of evidence. Ferreira-Bucklev and Halloran end their Introduction with an innovative analysis of the curious fact that Blair "makes little mention of the works of any of the great visual artists who were his contemporaries" despite his "heavy reliance on visual metaphors and analogies" (xlvi-xlvii). Similarly, they note that Blair says nothing about contemporary music. Despite repeated references to the connections between poetry and music, Blair never acknowledges work by contemporaries such as Handel and Purcell, both of whom had set English poetry to music. While acknowledging that his inattention to contemporary art and music may simply reflect Blair's "pedagogical purpose," the editors argue that the larger significance of these lacunae may lie in the fact that "the printing press had long since created the conditions for a kind of sedentary cosmopolitanism in the textual realm" (xlviii). In short, Blair did not get out of Scotland much and " 'the age of mechanical reproduction' of visual and musical works would not arrive for another century," leaving his "experience, while rich in the literary arts,... impoverished with respect to other media" (xlviii). Through arguments like these, Ferreira-Buckley and Halloran's Introduction suggests new lines of inquiry into Blair's Lectures. Beyond the "Introduction," this volume consists mostly of an edition of the Lectures based on the 1785 London edition, which contained Blair's Reviews 445 corrections to the 1783 first edition. As a textual edition, the volume is something of a puzzle. To he sure, the text seems trustworthy with regard to what textual editors traditionally termed "substantives"—the words of the chosen copy text—but some of the editorial decisions, and the lack of textual apparatus, leave the goals of the edition unclear. The main goal of the volume is to bring the 1785 edition of Blair's Lectures back into print (it was last published in facsimile by Garland in 1970, five years after Southern Illinois University Press published a facsimile of the 1783 edition). While the 1785 edition is no longer in print, the entire text is currently available online (in a searchable facsimile edition) through Gale's Eighteenth-Centun/ Collections Online. (This new edition is also searchable online via Google Book Search, though one can read only a limited number of sample pages on that site.) The editors argue further that to "truly understand Blair's influence, scholars must begin to study differences among editions and abridgments, because what readers took away from Blair's Lectures...

442 RHETORICA Judy Z. Segal, Health and the Rhetoric of Medicine (Carbondale, IL: Southern Illinois University Press, 2005), 208 pp., $50.00 cloth, ISBN 0-8093-2677-9. Humanists who study medical discourse are a diverse crowd. They hail from disciplines ranging from anthropology and bioethics to rhetoric and composition studies. Lacking a lingua franca, these scholars understandably draw from the divergent traditions of their primary fields. What has ar­ guably been missing is a comprehensive account of medical discourse aris­ ing squarely from the rhetorical tradition. University of British Columbia rhetorical theorist Judy Z. Segal's Health and the Rhetoric ofMedicine fills this void. Demonstrating the heuristic potential of rhetorical principles for un­ derstanding health and medicine broadly construed, Segal offers a series of lucidly-rendered case studies investigating the role of persuasion in shaping patients, practitioners, and illnesses alike. Segal insists on the uniqueness of particular medico-historical moments. In “Chapter One: A Kairology of Biomedicine," she advances “a study of historical moments as rhetorical opportunities" (23). To illustrate kairology's application, Segal traces shifting accounts of the patient narrator from the eighteenth century forward. Her emphasis is not medical history per se, but how medical history reveals the types of persuasion enabled by particu­ lar changes in medicine. Kairology thus informs the rhetorically-focused medical histories to come. However, her analyses derive insights from Ken­ neth Burke and an eclectic mix of classical and contemporary rhetorical theory. Segal presents seven analysis chapters flanked by a theoretically-based introduction and conclusion in a compact 158 pages of text. These build on Segal's previous publications including reprinted portions of three essays. After the opening chapter on kairology, "Chapter Two: Patient Audience, The Rhetorical Construction of the Migraineur" examines how physicians' char­ acterizations of headache patients influence the doctor-patient encounter and preferred treatments. Segal tracks the construction of the migraineur in medical writing from 1873 through the twenty-first century wherein the migraine personality has become situated in pharmacological terms. "Chap­ ter Three: The Epideictic Rhetoric of Pathography" analyzes illness narra­ tives, and their study, as value-laden rhetoric of praise and blame. Segal focuses on three complicating narrators: the pro-anorexia internet narrator who interpellates the community, the resistant narrator of Barbara Ehrenreich who challenges the tyranny of cheerfulness in breast cancer narratives, and the commercialized narrator of Carla Cantor whose hypochondria queststory represents the pathologized subject. "Chapter Four: Hypochondria as a Rhetorical Disorder" unpacks the strategic ambiguity of hypochondriacs' discourse recasting the condition from a medical mystery to a mystery of motive with historical and current examples. In "Chapter Five: A Rhetoric of Death and Dying," the book's most haunting and personal chapter, Se­ gal interrogates end-of-life rhetoric by analyzing dialogue surrounding her Reviews 443 mother's death and advanced care planning interviews to argue that in­ stitutionalized end-of-life encounters structurally impede fair deliberation. "Chapter Six: Values, Metaphors, and Health Policy" awakens the "sleeping" metaphors in health-care-policv rhetoric, exposing the values underlying medicine is war, diagnosis is health, and body as machine, for example. "Chapter Seven: The Problem of Patient 'Noncompliance': Paternalism, Expertise, and the Ethos of the Physician" addresses problems of physician authority as embedded in the terms patient non-compliance, adherence, and concordance. In her concluding section, Segal underscores the rhetorical lexicon's utility for comprehending medicine and health. Segal ably mixes insightful application of principles to particular cases with mid-level theorizing about the place of rhetoric in medicine and health. Although she draws from an interdisciplinary reservoir, her core an­ alytic concepts are well known to suasion scholars: kairos, genre, audience, metaphor, narrative, interpellation, and ethos. A second strength is her at­ tention to intersecting interactional, public, and institutional discourses. Her persistent focus on persuasion, clear prose, and accessible explanation of concepts make this volume a solid choice for upper-division undergraduate and graduate courses in rhetoric. It should also be useful for medical human­ ists who want to access rhetorical insights: her book shows how rhetorical thinking can uncover historical particularities while fostering generalized insights. The scope of cases considered is impressive, as are the connections to history of medicine scholarship. One of the...

Reviews Heinrich E Plett, Rhetoric uud Renaissance Culture. Berlin, New York: Walter de Gruyter, 2004. 581pp. scholars. Most of us excel in one or two areas, but he has contributed valuable work in four different fields: historical and theoretical studies of came to general attention with a substantial monograph (based on his 1969 Bonn doctoral dissertation), Rhctorik dcr Affekte. Enylische Vkirkuuysdsthetik im of the importance given to moving the feelings in English Renaissance rhetoric, an understudied topic at that time, remains worth reading and might have become trulv influential had it appeared in English. Professor Plett had already published a student text, Einfidiruug iu die rhetorische Fextanalyse (Hamburg, 1971), which moved from rhetorical criticism into general linguistics, a mo\ e which he consolidated in Textwissenschaft und Textanalyse. Senuotik, Empiustik, Rhctorik (Heidelberg, 1975), subsequently translated into Rumanian (1983). Plett's latest work on rhetorical theory is Systematische Rhctorik: Konzcpt uud Analysen (Munich, 2000), which attempts a svstematization of rhetorical figures using modern linguistic terminology. In 1977 Plett produced the first of several volumes collecting essays bv himself and other scholars, Rhctorik. Kritischc Positional zum Stand dcr Forschuny (Munich). In consecutive vears he published complementary vol­ umes deriv ing from conferences held at the Zentrum fiir Rhetorik- und Renaissance-Studien that he had founded at the University of Essen, each containing 18 essavs in German, French, and English: Renaissance-Rhetorik. Renaissance Rhetoric (Berlin, New York, 1993; see my review in Renais­ sance Quarterly, 49 [1996]: 438-40), and Renaissance-Poetik. Renaissance poetics (Berlin, 1994). Another conference he organized produced a volume called Die Aktualitdt der Rhetorik (Munich, 1996). Having been so active in providing a forum for other scholars' work, it was only fitting that his colleagues re­ paid his good deeds with one of the best Rhetoric Festschriften of recent years, Rhetorica Movet: studies in historical and modern rhetoric in honor ofEieinrich F Plett, ed. P. L. Oesterreicher and T. O. Sloane (Leiden, 1999). Heinrich Plett's work has always been marked by a wide reading and the diligent use of primary and secondary sources, an important compoRhetorica , Vol. XXV, issue 4, pp. 435-448, ISSN 0734-8584, electronic ISSN 15338541 . G2007 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.2007.25.4.435. 436 RHETORICA nent of scholarship which resulted in his producing a wide-ranging primary and secondary bibliography, Englische Rhetorik und Poetik 1479-1660. Eine systematische Bibliographie (Opladen, 1985; see my review, Wolfenbütteler Renais­ sance Mitteilungen, 13 [1989]: 75-80). A decade later Plett issued a corrected and enlarged edition, English Renaissance Rhetoric and Poetics. A Systematic Bibliography of Primary and Secondary Sources (Leiden, 1995; see my review, International Journal of the Classical Tradition, 5 [1998]: 260-65). Professor Plett describes the volume under review, Rhetoric and Renais­ sance Culture, as "the result of more than thirty years' work on Renaissance rhetoric" (p. vii). It is systematically organized (the chapters are labelled "AF "), beginning with an overview of the "Scope and Genres of Renaissance Rhetoric" (pp. 11-84). Then comes the longest chapter, “Poetica Rhetorica. Rhetorical Poetics in the Renaissance" (pp. 85-294), divided into the five stages of composition (inventio, dispositio, elocutio, memoria, actio). The survey widens to take in rhetoric's relationship with the visual arts and with music, in a chapter awkwardly titled "Intermedial Rhetoric" (pp. 295-412). Chap­ ter D, “Poeta Orator: Shakespeare as Orator Poet" (pp. 413-498) consists of five parts, four of which the author has translated from essays published in German between 1981 and 1995. Chapter E, "Iconography of Rhetoric and Eloquence" (pp. 499-552), is profusely illustrated (the volume as a whole con­ tains 94 plates), and is followed by two detailed indices, of names and sub­ jects. The volume is handsomely designed and printed, with a commendably high degree of accuracy. Although the over-all structure is clear, there is an unfortunate degree of overlapping between sections, and the same quotations reappear several times over, often with the...

334 RHETORICA ration" among antebellum women (because Truth's speech was reproduced by Frances Gage). Because Regendering Delivery provides so little analysis of African American women speakers' unique struggles, this relatively uncriti­ cal treatment of white antebellum reformers' relationship to Sojourner Truth is disappointing. Chapter 5 and the conclusion, which would have benefitted from further development, foster confusion over the book's theory of delivery. Nevertheless, this criticism should not deter scholars from picking up this fine book, which makes important contributions to the feminist study of the history of rhetoric. Roxanne Mountford University ofArizona Joseph Roisman, The Rhetoric of Manhood: Masculinity in the Attic Orators. Berkeley: University of California Press, 2005. 283 pp. A book entitled The Rhetoric ofManhood: Masculinity in the Attic Orators was probably as inevitable as was the study of gender and sexuality in the ancient world. As gender studies matured as an academic discipline, the scholarly examination of masculinity could not remain far behind, despite the expected quip that all previous scholarship was "masculine studies." In fact, men's studies forms an important complement to women's studies and deserves to stand as an important element of rhetorical studies as well. Anyone interested in exploring the overlapping fields of rhetoric, on the one hand, and ideologies and practices of masculinity, on the other, will find The Rhetoric ofManhood: Masculinity in the Attic Orators an important resource for scholars of ancient rhetoric and rhetorical theory more generally despite the fairly narrow focus revealed by the subtitle. As the full title suggests, Roisman has limited his focus to one genre— ancient oratory—which in turn further limits his study to a roughly onehundred year span of Athenian history, from the late fifth century to the 320s bce. In practice, the focus is even narrower, as this study must inevitably rely most heavily on a small handful of orators (chiefly Demosthenes and Lysias) with the largest corpus of orations. However, this tight methodological lens brings its own benefits, and in fact is less restricting than it might at first appear to be. In the first place, as Roisman himself notes (quoting Loraux), the context for ancient oratory—the political life of the city and its citizens— was so thoroughly imbricated with notions of masculinity that "the true name of the citizen is really aner [man], meaning that sexual identity comes first" (1). Thus what it meant to be a virtuous citizen, friend, and speaker, a benefit to friends and a harm to enemies, can be seen as largely co-terminous within the political and legal arena with what it meant to be a virtuous and capable man in general. Reviews 335 Further, though ancient oratory was once suspect as too rhetorical to be reliable as historical evidence, it is now valued as an important resource precisely because it depends for its effectiveness on its believability to its audience. More than any other genre, oratory had to appeal to beliefs that the audience was willing to accept. This does not mean that orations accurately reflect social practices and behaviors, but it does suggest that they remain within the bounds of what politically active Athenian men thought they and their city valued, and how it ought to put those values into practice. This study of ancient orations turns out to be a particularly valuable resource for self-representations of and for Athenian men. The Athenian masculine ideology that Roisman discovers turns out to be quite broad and complex, including standards of behavior in youth (chapter 1); the roles and responsibilities of the adult male as husband, father, kin, friend, and citizen; the role of shame (chapter 3); the relationship between masculinity and social status (chapter 4); military service (chapter 5); the struggle for power (chapter 6); the negotiation of desire and self-control (chapter 7); the mastery of fear (chapter 8); and old age (chapter 9). Of particular interest for historians of rhetoric in this context are sections devoted to the struggle for political power and assertions of manliness be­ tween speakers and audiences. Roisman reveals not only the value of oratory as a source of information about masculine ideology in ancient Greece but shows as well how oratory was...

Reviews Lauicnt Pernot, Rhetoric in Antiquity, trans. W. E. Higgins (Washing­ ton, D. C.: The Catholic University of America Press, 2005), pp. xiv + 269, $27.95, paper, ISBN 0-8132-1407-6. Rhetoric in Antiquity is one in a series of volumes that have been pub­ lished or are in preparation that provide an overview or explore important aspects of rhetoric in the Greek and Roman worlds. Translated by W. E. Hig­ gins from the original French version of Laurent Pernot published in 2000 as La Rhétorique dans 1 Antiquité (Paris: Librarie Générale Française, 2000), this book seems designed mainly to sen e as an introduction for general readers and students of rhetorical theory and practice from the Homeric to imperial periods. Pernot's structure is traditional: there are six chronological chapters covering Homeric, sophistic, Athenian, Hellenistic, republican, and imperial rhetoric; these chapters include six excurses that take up issues of particular significance to the author. A short introduction (pp. vii-xiv) stresses Pernot's aim of providing a history of the practice and theory of Greek and Roman rhetoric and contains a synopsis of the different conceptions and definitions of rhetoric; the first excursus considers the utility of rhetoric in modern scholarship as evidenced by the popularity of the phrase "the rhetoric of" in the titles of various studies. Chapters 1 and 2 examine the origins of Greek rhetoric. In chapter 1 ("Rhetoric Before Rhetoric," pp. 1-9) Pernot views the speeches of the Iliad and Odyssey as evidence of an awareness of rhetoric, especially technical terms, although he rightly observes that Homer did not anticipate its rules. The speeches of the characters in Homeric epic define their personalities as well as reveal their oratorical abilities. In his treatment of the centuries following Homer, Pernot emphasizes the links not only between oratory and the Greek polis, especially in the development of Athenian democracy, but also between oratory and literature. Chapter 2 ("Sophistic Revolution," pp. 10-23) explores the "invention" of rhetoric and its attribution to various figures such as Empedokles of Agrigentum, Korax and Tisias. The focus is mainly on the sophists, especially Gorgias, and their role in the development of Greek rhetoric and more generally in Athenian society. An excursus on the word rhetorikê challenges not only Edward Schiappa's view (American Journal of Philology 111 [1990]: 457-70) that it was coined by Plato but also Rhetorica, Vol. XXV, Issue 2, pp. 205-219, ISSN 0734-8584, electronic ISSN 15338541 . 02007 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.2007.25.2.205. * /IlL-* * 206 RHETORICA Thomas Cole's thesis (The Origins ofRhetoric in Ancient Greece [1991]) that the discipline of rhetoric itself was invented by Plato and Aristotle. Chapters 3 and 4 address Athenian and Hellenistic rhetoric respectively. In chapter 3 ("The Athenian Movement," pp. 24-56) Pernot covers rhetoric at Athens from the end of the Peloponnesian war to the death of Alexander the Great (404-323 bce). After examining the practice of oratory at Athens in the judicial, political, and ceremonial contexts, Pernot reviews the conditions that made it possible for the different types of speeches to emerge in these different settings, then discusses and compares the careers and works of lsokrates and Demosthenes. One of the more interesting sections, which deals with the reality and image of the practice of oratory, stresses the importance of oratory at Athens even as it draws attention to its limitations. Following M. H. Hansen (The Athenian Democracy in the Age of Demosthenes [1991]), Pernot suggests that the number of citizens active in the assembly was in the hundreds, while the number of leading orators at any given time probably numbered around twenty; thus the oratorical and public aspects of political life at Athens is generally considerably overvalued in both ancient and modern treatments of rhetoric. In an excursus Pernot outlines the origins and history of the canon of the ten Attic orators; his tendency...

Reviews 329 Analyse verdeutlicht sich die zentrale Stellung von Hirschvelders modus epistolundi ." (S. 71). Auch hier wird der Begriff "überlieferungsgeschichtlich" falsch verwendet, und die Behauptung einer Spannung zwischen Latinitàt und Humanismus laPt sich wohl nur als unsinnig qualifizieren. Ich breche an dieser Stelle ab, ohne auf Details weiter einzugehen ("Ausgew àhlte Folii (!)", S. 287; "Peter Zainer" statt Johann Zainer, S. 326; kein Nachweis von GW-Nummern bei Inkunabeln, GW fehlt auch im Literaturverzeichnis ; Überbewertung von Wasserzeichenbefunden für Datierungsfragen , S. 55 u.ô.; unbrauchbarer Vergleich mit Sangspruchdichtung Boppes, S. 84). Letztlich bleibt als Mehrwert der Arbeit gegentiber der bisherigen Forschung allein der Textabdruck, der einen für Germanisten und (Bildungs-) Historiker interessanten Textbestand verfügbar macht und dem einen oder anderen die Reise nach München oder die Bestellung eines Microfilms erspart . Auch hier wird man allerdings fragen dürfen, ob der Hinweis auf die Richthnieii fiir die Edition lundesgescluchtlieher Quellen von Walter Heinemeyer (2. Aufl. Hannover: Selbstverlag des Gesamtvereins der Deutschen Geschichts- und Altertumsvereine, 2000) als editionstheoretische Grundlage für eine germanistische Edition ausreichend ist. Insgesamt genügt das Buch den Anforderungen, die an eine historisch-philologische Arbeit gestellt werden müssen, nicht. Albrecht Hausmann Georg-Angust-Universitat Gottingen Michel Meyer, Lu rhétorique (Paris: Presses Universitaires de France, 2004), 130 pages, ISBN 213053368X. As its title Lu rhétorique suggests, this little book has large ambitions only the most seasoned rhetorician can entertain seriously. And Michel Meyer is certainly that. Successor to Chaim Perelman in the Rhetoric Chair at the Brussels Free University and author of at least 16 related books (4 of which have been translated into English), Meyer is unarguably a leading figure in the fields of rhetoric and argumentation, especially in continental Europe. So Meyer clearly has the authority to take on such an ambitious project. The question is how successful is he in this case. Clearly the book is a success insofar as it succinctly summarizes and updates the original theory of rhetoric Meyer has been working on for at least twenty-five years. Judged on its novelty in comparison to his previously published work and judged by its potential impact in the field of rhetorical studies and beyond, my assessment is less rosy. First the strengths, which are substantial. Written for the popular series "Que sais-je?" (PUF) that seems to greet you just inside the door of every French bookstore, Lu rhétorique covers the field in a manner well designed for the educated nonexpert, and it does so in the systematic fashion that has become a hallmark of Meyer s work. After 330 RHETORICA defining rhetoric on page 10 as "the negotiation of the difference between individuals on a given question" (la rhétorique est la négociation de la différence entre des individus sur une question donnée), Meyer then recasts the entire history and theory of rhetoric from this point of view. And he does so with the confidence that can only come well into a lifetime of focused inquiry, when relevant hot points have been thought and rethought in a variety of contexts and with a variety of audiences in mind. Ancient rhetoric is recast to highlight Aristotle's placement of ethos, pathos, and logos on equal footing (versus those who would privilege the audience, the orator, or the speech); rhetoric's later history is briefly traced as it is "metastasized" in literature, politics, poetics and so on; a call is made for rhetoric's reunification in a systematic theory; and then Meyer delivers that theory with a final demonstration of how it can be used to recast our understanding of the human sciences, the study of literature, and the modern phenomena of propaganda and publicity. Quite a project in 123 pages! And no wonder it is not entirely successful. But let me further elaborate the strengths. Most important is Meyer's thorough commitment to question-andanswer as the motivating structure of all discourse. This perspective trulv sets him apart from both the classical rhetoricians he most admires, such as Aristotle, and his more immediate influences in the field of argumentation theory, such as Stephen Toulmin and Chaim Perelman, it is this perspective that leads to Meyer...

Reviews Jean Dietz Moss and William A. Wallace, eds., Rhetoric and Dialectic in the Time of Galileo (Washington D. C.: The Catholic University of America Press, 2003), 438 pp., $69.95, cloth, ISBN 0-8132-1331-2. The considerable importance of Aristotle to sixteenth-century rhetori­ cal theory has been well established in recent years, but this volume will make a significant contribution to our understanding of this expansive and occasionally complex territory. Principally, this is because it presents lengthy selections in English from a series of previously untranslated works on logic, dialectic, and rhetoric which may be taken as broadly typical products of the university environment in late sixteenth-century northern Italy. The au­ thors in question are Ludovico Carbone (1545—1597) and Antonio Riccobono (1541—1599), both of whom were deeply immersed in the Aristotelian intel­ lectual universe that predominated at Rome and Padua. For those who are unfamiliar with these figures and their environment, the editors provide a substantial introduction that surveys their biographical contexts and outlines the principles and history of the rhetorical and dialectical theory to which they subscribed, as well as brief introductions to each text. The book has two connected agendas. In the first place, it is designed to flesh out our understanding of the Renaissance uses of rhetoric, and of Aristotelian rhetoric in particular, by drawing attention to the sustained and detailed fashion in which Carbone and Riccobono analyzed and engaged with the logical basis of dialectical and rhetorical argumentation. In both cases, the penetration of rhetoric by Aristotelian logic is said to exemplify the broader engagement, on positive terms, of the era's humanist move­ ment with its traditional antagonist, namely scholastic Aristotelianism. The editors' purpose here is thus to redirect scholarly attention on Renaissance rhetoric towards the logical domain of rhetorical and dialectical invention and away from the territory of style. As they make clear, this does not consti­ tute a denial of the centrality of style to the rhetorical writings of the era. However, it inevitably creates a minor difficulty that I shall mention below. Second, as the book's title indicates, Professors Moss and Wallace have also been motivated by their conviction that attending to the logical aspect of these authors' works will facilitate a greater understanding of Galileo. As we are informed in the introduction, at some point in their careers at Rhetorica, Vol. XXIV, Issue 1, pp. 107-115, ISSN 0734-8584, electronic ISSN 15338541 . ©2006 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 www.ucpress.edu/journals/rights.htm. 107 108 RHETORICA the Jesuit Collegio Romano and the University of Padua both Carbone and Riccobono moved in the same circles as Galileo. More importantly, their writings provide a clear picture of the rhetorical and dialectical environment from which many of Galileo's forms of argumentation emerged. As such, Rhetoric and Dialectic in the Time of Galileo supports and complements the interpretations of Galileo that have been offered by Wallace in Galileo's Logic of Discovery and Proof (1992), where he is depicted as an Aristotelian of a distinctly Thomist complexion, and by Moss in Novelties in the Heavens (1993), where he appears as a thoroughly rhetorical scientist. The translations, all undertaken by Professor Wallace, are readable and very clear. Those taken from Carbone's sizeable output derive from the tntroductionis in logicam (Venice, 1597), a compendium of Aristotelian logical theory that, as Wallace has previously demonstrated, was plagiarised from the lecture notes of the Jesuit Paolo della Valle (1561-1622); the Tabulae rhetoricae Cypriani Soarii (Venice, 1589), a tabular digest of Cypriano Soarez's De arte rhetoricae (1562); the De arte dicendi (Venice, 1589), a comprehensive account of rhetorical theory; the De oratoria et dialéctica inventione (Venice, 1589), a treatise on topical invention; and the Divinus orator vel de rhetorica divina (Venice, 1595), a novel application of classical rhetoric to the art of preaching. Riccobono, whose own work as a translator encompassed Aristotle's Rhetoric, Poetics, and Nicomachean Ethics, is represented in the volume by...

Abstract In a comment on the age in which he was writing, Seneca the Elder states inSuas. 2.19 that anyone can plagiarize Cicero's Verrines with impunity. Critics have taken Seneca's assertion as a sign of diminished familiarity with the In Verrem and of Cicero's diminished popularity. This article offers a different interpretation. Seneca assails the inattentiveness of contemporary audiences as they listen to declamations in the rhetorical schools, not their ignorance of theVerrines or aversion to Cicero. Seneca incorporates the In Verrem into that critique due to its emblematic length in order to satirize the audiences' carelessness. The use of theVerrines as a symbol relies for its effect on the easy identification of the text and its size, and consequently points to the fame of that title and its length, as well as of its author Cicero, in the 30s CE.

In a comment on the age in which he was writing, Seneca the Elder states in Suas. 2.19 that anyone can plagiarize Cicero’s Verrines with impunity. Critics have taken Seneca’s assertion as a sign of audiences’ diminished familiarity with the In Verrem and of Cicero’s diminished popularity. This article offers a different interpretation. Seneca assails the inattentiveness of contemporary audiences as they listen to declamations in the rhetorical schools, not their ignorance of the Verrines or aversion to Cicero. Seneca incorporates the In Verrem into that critique due to its emblematic length in order to satirize the audiences’ carelessness. The use of the Verrines as a symbol relies for its effect on the easy identification of the text, and consequently points to the renown of that title and its length, as well as of its author Cicero, in the 30s ce.

Reviews Roxanne Mountford. The Gendered Pulpit: Preaching in American Protes­ tant Spaces. Studies in Rhetorics and Feminisms Series. Carbondale: Southern Illinois University Press, 2003. xii + 194 pages. The Gendered Pulpit makes a significant contribution to rhetorical studies, investigating the heretofore largely overlooked issue of how gender affects rhetorical performance in sacred spaces. Roxanne Mountford employs multi­ ple lenses—including rhetorical theory, feminist historiography, church and homiletic tradition, personal experience, and ethnography—and produces a sweeping, comprehensive, and compelling analysis of her subject. The first two chapters identify masculinist biases embedded within the spatial and sermonic conventions of the Protestant church. In chapter one, Mountford introduces an original and sure to be influential conception of "rhetorical space/' which includes not only the architectural setting and physical props incorporated into an oratorical performance but also entirely non-material elements: "rhetorical spaces carry the residue of history within them . . . [and so are] a physical representation of relationships and ideas" (17). Thus, culture, tradition, and ideology inhabit rhetorical space and shape speakers' performances. Mountford illustrates this point via the pulpit, an object/space imbued with "masculine" connotations that pose challenges to women preachers. First, the pulpit is designed for male rather than female bodies. One woman minister studied by Mountford must stand on a foot­ stool in the pulpit because of her small stature; even so, she is so dwarfed by the furniture that only her neck and head are visible to the congregation. Second, the pulpit enforces a distanced, hierarchical relationship between the preacher and the audience, spatially encoding the speaker as the authority and the listeners as silent, passive recipients of "his" wisdom. Mountford argues that this type of relationship is unappealing to women preachers, who tend to prefer a "populist" stance and seek more intimate connection with the congregation. Third, because of its strong masculine associations, the pulpit automatically casts women ministers as misfits in that sacred space. To overcome the gendered obstacles posed by the pulpit, women often opt to deliver sermons in alternative spaces, for example, leaving the pulpit and speaking from the church floor or preaching outside of the church entirely. Rhetorica, Vol. XXIII, Issue 4, pp. 401-404, ISSN 0734-8584, electronic ISSN 15338541 . ©2005 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 www.ucpress.edu/journals/rights.htm. 402 RHETORICA Women also confront problematic gender assumptions within preaching textbooks. Nineteenth-century manuals, for example, encouraged ministers to develop an authoritative, heroic, manly character that would empower them to save the world one person at a time, an irrelevant and inappropriate ethos for women. Twentieth-century manuals, while not as overtly mascu­ line, failed to address gender directly and instead promoted "a generic ideol­ ogy of gender" that left traditional masculinist biases intact (63). Women's strategies for overcoming the gender biases inherent to sacred spaces and traditions are examined concretely in the book's remaining chapters. Chapters three, four, and five examine the intersections of rhetorical performance, space, and the body through the practices of three contem­ porary and very different Protestant preachers, all of whom are the first women to lead their respective churches: Patricia O'Connor, pastor of a large and affluent suburban Lutheran church; Barbara Hill (Rev. Barb), minister to a struggling church located in a strip mall and serving a low-income, African-American community; and Janet Moore, leader of an urban and deeply divided Methodist church composed of conservative, aging, white, working-class core members and liberal, young, prosperous, gay and lesbian professionals. Although possessing varied gifts and serving dissimilar con­ gregations, the three women pursue a similar goal in their ministries, which Moore describes as creating "a community of Christians dedicated to peace, social justice, and diversity" (137). This "populist" purpose, so at odds with that promoted in conventional preaching manuals and traditions, inspires the women to develop new rhetorical strategies. One of the most significant is their use of sacred space to create a sense of community. As noted, tradition places the authoritative, male preacher in the pulpit and promotes...

Reviews 403 faith not only to sustain the congregation but also to encourage it to confront social injustice and work for racial uplift. Collectively, these women's spatial and rhetorical strategies point to an alternative method for crafting effective ethos and promoting Christian community. The epilogue addresses whether or not the "populist" preaching prac­ tices employed by O'Connor, Hill, and Moore are "feminine" ones. While acknowledging that a number of male church leaders (including Henry Ward Beecher, post-Vatican II priests, and African American preachers) have used similar methods, Mountford argues that women's abandonment of the pul­ pit, disclosure of the personal, and efforts to level hierarchy represent a significant "ritual transgression of sacred space" and tradition (156). In other words, women preachers choose alternative discursive methods and de­ livery styles in order to create ethos in a place and position traditionally antithetical to them. The Gendered Pulpit represents an important step toward understanding how gender affects discourse and rhetorical performance. Mountford con­ cludes by inviting other feminist rhetoricians into the new theoretical home afforded by a refigured fifth canon of delivery, and she encourages them to build upon her foundation and undertake further studies of women min­ isters in sacred spaces. Mountford's fine work makes a convincing case for the fifth canon as a promising site for investigating gender and rhetoric and, ultimately, for making the entire discipline inclusive and comprehensive. Lindal Buchanan Kettering University Cheryl Glenn, Margaret M. Lyday, and Wendy B. Sharer, eds., Rhetor­ ical Education in America. Tuscaloosa: University of Alabama Press, 2004. 245 pp. This volume reconsiders contemporary rhetorical education from the perspective of the history of rhetoric. The editors provide a helpful intro­ duction (Glenn) and afterword (Lyday and Sharer). Many of the essays were plenary presentations at a Penn State Rhetoric Conference organized by the editors. The volume's most successful essays link a study of how rhetoric was historically taught with how it might be taught today. In "Lest We Go the Way of the Classics: Toward a Rhetorical Future for English Departments," Thomas P. Miller reviews the history of composition teaching as a history of crises of literacy, and suggests that we now need a curriculum that will move us from the traditional interpretive stance of the critical observer to the rhetorical stance of the practical agent involved in negotiation. Shirley Wilson Logan, in "'To Get an Education and Teach My People': Rhetoric for Social Change," examines the self-help schooling of nineteenth-century African 404 RHETORICA Americans for clues to help today's disenfranchised communities. Logan calls for "consilience," that is, a linking of knowledge across disciplines, and a rhetorical education that concentrates as much on critiquing and evalu­ ating contemporary discourses as on producing writing. With meticulous scholarship, in "Parlor Rhetoric and the Performance of Gender in Postbellum America," Nan Johnson reveals the conservative réinscription of gender roles in the potentially liberating growth of manuals for parlor rhetoric after the Civil War. Gregory Clark reminds us of the range of American rhetorics in his examination of the national park as a public experience establishing a shared sense of national collectivity, a training ground for citizens who need to respond to public conflict with transcendence. Essays by William Denman and by Sherry Booth and Susan Frisbie are not as strong. Denman argues that rhetoric lost its civic purpose during the nineteenth-century expansion that attempted to keep out the vulgar and the foreign by policing the borders of oral and written communication, but he ignores the growth in specialized textbooks and conduct-book rhetoric that offered rhetorical education to working class and female students. Booth and Frisbie argue that metaphor should be central to rhetorical education and analyze their qualified success in teaching metaphor to their students, but they mistakenly suggest that Aristotle did not find metaphor important to rhetoric and their claim that Renaissance rhetoric emphasized style not content has been significantly revised in recent scholarship. Other essays offer perceptive variations on the collection's theme of the history of rhetoric as a guide to future teaching. Susan Kates links James Raines's revision of the history of English to include respect for Appalachian English...

Abstract Kenneth Burke's important 1934 essay “My Approach to Communism” is often read as “a commitment to Communism” celebrating the movement. A typescript (recently discovered in the Kenneth Burke Papers) of a speech given by Burke in January, 1934 invites a reconsideration of “My Approach.” The speech, delivered to the New York John Reed Club, is concerned with finding a solution to America's contemporary economic and social derangements and is more committed to this search and the desired effects of social change than any specific political system or party. Resituating “My Approach to Communism” as a revised and abridged version of this speech encourages a re-reading of the essay as an extended critique of capitalism and an argument for social conditions that foster cultural stability for art's sake.

Reviews 299 son seul guide pour l'étude de la dispositio, et que pour Yelocutio ce sera le seul Hermogène, dont il n'avait pas encore parlé. Laissons ici le fait que ces deux décisions seraient vraiment difficiles à justifier d'un point de vue historique (Du Tronchet se souvient-il encore de Fabri? connaît-il déjà Hermogène?). Le choix de Fabri conduit à des platitudes du côté de la dispositio: nous n'avons pas besoin de lui pour apprendre qu'une lettre a un début, un milieu et une fin, même rebaptisés respectivement «cause», «intention» et «conséquence»; et Vaillancourt ne relève pas que, chez Fabri, la «conséquence», qui est la conclusion du syllogisme, peut se trouver ailleurs qu'à la fin, ce qui est tout l'intérêt de ce vocabulaire. Quant à Hermogène, si ce choix permet de bien plus fines remarques sur Yelocutio, on reste parfois sceptique: caractériser les lettres de Pasquier par la deinotès est ne pas savoir ce que désigne celleci —Pasquier n'est pas «habile» comme Démosthène au seul motif qu'il sait s'adapter à ses correspondants. De façon plus générale, la difficulté fondamentale réside dans l'image de la rhétorique qu'ont les deux ouvrages. Comme de nombreux littéraires aujourd'hui, seiziémistes ou non, leur culture rhétorique se limite à Yelocutio et, dans une moindre mesure, à Yethos. Inversement, ils ne sont pas à l'aise avec la dispositio ou avec les passions, ni même avec l'argumentation ou logos (que Vaillancourt réduit aux exempta et autres autorités). Pour la dispositio, seul La Charité ose deux analyses de lettre complète, d'ailleurs stimulantes (p. 101-106), et pour les passions Vaillancourt appelle amitié (avec renvoi à Aristote, Rhétorique, II, 4) ce qui à l'évidence relève de la gratia (p. 294, «je ne veux en rien estre ingrat...» = Aristote, II, 7). Plus fondamentalement encore, tous deux voient dans l'épistolaire le lieu où il y aura le moins de rhétorique, ce mot même ayant sous leur plume le sens trop convenu de formalismes obligés. La lettre «familière» serait, enfin, un espace de sincérité dénué de toute «rhétorique»: l'extrême du sermo déconstruit, face à l'extrême de Yoratio ou discours construit. Avec un tel présupposé, que démentent constamment et l'époque et les corpus étudiés, il n'est pas pour surprendre qu'on arrive mal à dégager du typologique réutilisable. Redisons pour finir combien ces difficultés mêmes sont instructives, car elles renvoient le lecteur de Rhetorica à une des questions fondatrices de cette revue: jusqu'où peut-on appliquer la rhétorique ancienne à des textes qui a priori en étaient informés de part en part? Francis Goyet Université Stendhal, Grenoble James P. Zappen, The Rebirth of Dialogue: Bakhtin, Socrates, and the Rhetorical Tradition (Albany: SUNY Press, 2004), viii + 229 pp. In the roughly twenty years of scholarship on Bakhtin and rhetorical studies, Rebirth ofDialogue stands as the first and only book-length discussion 300 RHETORICA of dialogue as it informs both the early Socratic dialogues and the work of Mikhail Bakhtin. That rhetorician and Bakhtin scholar Jim Zappen would undertake the project is not surprising, for Bakhtin himself provides the impetus for the comparative study, citing the Socratic dialogue as a protonovelistic genre. Zappen does not, however, simply construct a series of correspondences between the two thinkers' perspectives on dialogue; rather, he examines the Socratic in terms of the Bakhtinian, noting the points at which a Bakhtinian reading of the early dialogues extends and enriches our understanding of them as "testing and contesting and creating" innovative ideas during a tumultuous fifth century bce (32). The opening chapter situates the central question of the relationship be­ tween rhetoric and dialogue within twentieth-century rhetorical and philo­ sophical studies. It also presents a central premise of the argument: the early Socratic dialogues illustrate a significant and complex cultural tension between the arete ("excellence" born of birth, status, and courage) of the Homeric tradition and a newer...

Kenneth Burke’s important 1934 essay “My Approach to Communism” is often read as “a commitment to Communism” celebrating the movement. A typescript (recently discovered in the Kenneth Burke Papers) of a speech given by Burke in January, 1934 invites a reconsideration of “My Approach.” The speech, delivered to the New York John Reed Club, is concerned with finding a solution to America’s contemporary economic and social derangements and is more committed to this search and the desired effects of social change than any specific political system or party. Resituating “My Approach to Communism” as a revised and abridged version of this speech encourages a re-reading of the essay as an extended critique of capitalism and an argument for social conditions that foster cultural stability for art’s sake.

Reviews 301 Quintilian and the Law: The Art of Persuasion in Law and Politics, ed. Olga Tellegen-Couperus (Leuven: Leuven University Press, 2003). While there is some evidence (pp. 1, 191) that the title of this book reflects its original scope (and that of the conference that underlies it), its actual contents range much more widely around the central figure of Quintilian. Many papers are entirely concerned with the history and analysis of rhetorical theory. Nonetheless, the papers concerning law are the most coherent group and, by and large, the most ambitiously argued. After making a few general observations on the whole volume and briefly treating the contents of the twenty-five individual papers, I will turn primarily to two questions regarding the utility of the Institutio Oratoria for lawyers which make up the most sustained topics of discussion. The essays collected here were written by scholars from diverse fields (law, classics, rhetoric, literary theory, comparative literature) and of diverse, mostly European, nationalities (Spain and Holland are particularly well represented). All papers have been rendered into what is for the most part very readable English. Also, despite their origin in a conference in 2001, most of the papers come equipped with the kind of scholarly apparatus one expects in a written work. Nearly all the papers treat a single book (or smaller segment of the text) as their subject, with a few verging on being running commentaries. Jorge Fernández Lopez studies sources of authority, both for texts and for persons. Serena Querzoli views Q.'s education project in the context of concrete evidence for contemporary educational practice. Tomás Albaladejo develops a theoretically informed analysis of the three genera of oratory, tying them to communicative function more than "occasion" (narrowly defined). Olivia Robinson investigates the opportunities and pitfalls of using Q. as a source for Roman law. Ida Mastrorosa argues Q.'s text is substantively shaped by his court-room experience. Giovanni Rossi discusses the reception of classical rhetoric by (mostly) seventeenth century Venetian lawyers (this piece has the least to do with Q. specifically). Belén Saiz Noeda treats the theory of proof within and according to Q., especially with respect to the use of topoi. Andrew Lewis clarifies a usually under-translated phrase at 5.13.7 by reference to the facts of legal procedure. Maria Silvana Celentano demonstrates the value of self-exemplification in book 6. Jeroen Bons and Robert Taylor Lane translate and analyze IO 6.2 from a philosophical point of view. Richard A. Katula discusses the means of exploiting emotion in venues (ancient and modern) in which that practice is normatively disfavored. José-Domingo Rodríguez Martín investigates the relative weight of oratory (especially pathos) and law in the Roman courtroom. (Katula's piece is to some extent "how to"; Rodríguez Martin's is relatively more historical.) David Pujante's discussion of status theory shows that dispositio is not just an afterthought to inventio, but is itself constitutive of interpretation. Maarten Henket advocates the use of Quintilianic strategies to bring more predictability to judicial law-making. Jan Willem Tellegen reinterprets the 302 RHETORICA casua Curiana by reevaluating the Quintilianic evidence. Francisco ChicoRico analyzes the virtues of style and their hidden connections to the other operations of rhetoric. The editor offers two contributions of her own. In one she offers a compelling rereading of a quoted sententia (8.5.19) by consideration of the legal context. In the other she gives a similarly constructed interpretation of a troubled passage at 9.2.65-6. Barend van Heusden gives a cognitive semantic account of the notion of figured discourse. James J. Murphy explains Q.'s plan for adult education. Sanne Taekema focuses more specifically on the motives behind Q.'s choice of canon, by way of a comparison with the goals of the modern Law and Literature movement. Peter Wiilfing gives an account of ancient and modern gestural culture. Esperanza Osaba tries to reconstruct the circumstance ofjudicial appeal alluded to at 11.1.76. Vincenzo Scarano Ussani shows how the Quintilianic perfect orator is fitted to the circumstances of the contemporary (i.e. imperial) community Willem Witteveen argues that Q.'s deep rhetoric...

AbstractDuring the rise and growth of the Greek art of oratory in the fifth and fourth centuries B.C. the development of open and systematic techniques for awakening and encouraging a sense of pity can be observed both in rhetoric proper (the ten Attic orators) and in associated literary genres influenced by rhetoric (Historiography and Tragedy). These are classified—most notably by reference to the writings of Plato and Aristotle—in the light of rhetorical theory and significant examples are provided. Three techniques are investigated: (1.) the direct use of instances of pity, without elaboration, (2.) the development of axioms concerning the nature of pity, and (3.) systematic approaches to the awakening of pity.