Reviewed by: Heritage and Hate: Old South Rhetoric at Southern Universities by Stephen M. Monroe Bjørn F. Stillion Southard Stephen M. Monroe, Heritage and Hate: Old South Rhetoric at Southern Universities. Tuscaloosa: University of Alabama Press, 2021. 256 pp. ISBN: 978-0-8173-2093-5. How much do we know about our own university and its past? Stephen M. Monroe asks this question of his university—University of Mississippi—as well as a few other peer southeastern U. S. schools. Monroe examines how these universities "have struggled with their linguistic and [End Page 452] symbolic inheritance" (1). The controversies covered in the book are shown to have deep roots in the Lost Cause ideology that developed almost immediately after the Confederacy surrendered to the Union in the Civil War. Monroe explores how the Lost Cause formed, and continues to inform, notions of race and identity in universities of the American South and beyond. Monroe builds a conceptual frame called "confederate rhetoric." Put simply, confederate rhetoric "is historical, gathering any and all symbolic behavior that is rooted in or that recalls the Old South" (2). The concept extends beyond just Lost Cause discourse in its attention to a larger variety of texts, objects, and sources. As Monroe explains, "confederate rhetoric encompasses many modes of communication, including words, sounds, colors, statues, flags, photos, architecture, and more" (2). The widening of the communicative aperture allows Monroe to study less traditional forms of discourse, like ephemera, collegiate fight songs, and nicknames, as well as more traditional forms such as public arguments and deliberations. Heritage and Hate is composed of seven chapters, along with a preface, introduction, epilogue, and postscript. Most books do not have all of these sections preceding and proceeding the numbered chapters of a book. The various entry and exit points of the book express the recurring relationship amongst racism, identity, and tradition. Chapter one and two analyze vernacular discourses from the University of Mississippi. Chapter one traces the contested meaning of the nickname of the University, "Ole Miss." Originally the name given to the first University of Mississippi yearbook in 1897, Monroe explains that the quick uptake of the term as a nickname for the school owes to the racialized hierarchy of the late nineteenth century. The person responsible for suggesting the name noted that they often heard Black people working on southern plantations "address the lady in the 'Big House' as 'Ole Miss'" (25). Monroe builds upon this origin story to show how "'Ole Miss' has been invoked to glorify and defend the Old South and its outmoded way of life, used to punish and exclude Black people, … and served as code, container, and protector of nostalgic feelings for the Lost Cause" (20). Monroe tracks the various public debates about whether to keep the nickname, showing how appeals to unity and tradition betray a sympathy to the past rather than an effort at inclusion. Chapter two also takes up a vernacular discourse at the University of Mississippi, specifically the school cheer known as "Hotty Toddy." The central question posed in this chapter is, "how should southern university communities (and other intuitions) handle expressions or symbols less glaring than Confederate statuary but perhaps just as troubling?" Monroe makes the case for why "Hotty Toddy" rises to the same level of scrutiny by examining six moments in which the chant was "weaponized as a racial taunt" (63). Chapter three and four focus on controversies that feature an inciting event and significant discursive responses. In chapter three, Monroe analyzes a 2015 incident in which Black students at Missouri staged a peaceful protest and white spectators used the traditional M-I-Z-Z-O-U chant "to [End Page 453] drown [the protestors] out and to communicate anger and disapproval" (91). Monroe draws from newspaper articles, social media posts, and institutional responses to capture the intense emotion of the discourse from various individuals and groups. Chapter four moves back to University of Mississippi to address a controversy based on the response of students to the re-election of Barack Obama in 2012. On November 7, when the election was called in favor of Obama, many students took to public spaces and yelled racial...

Reviewed by: The Rhetorical Arts of Women in Aviation, 1911–1970 by Sara Hillin Jennifer Keohane Sara Hillin, The Rhetorical Arts of Women in Aviation, 1911–1970. Lanham: Lexington Books, 2020. 181 pp. ISBN: 9781498551038 It is easy to see why Amelia Earhart has soared over the public memory of women in aviation. She was charismatic, committed to promoting women in flight, and left behind a trove of speeches, articles, and books to analyze. Yet, this valorization of Earhart’s accomplishments as the main story of women in aviation is exactly what Sara Hillin writes against in her new book. Instead, Hillin argues, there are a number of female aviators who were not [End Page 472] only taking to the skies against stacked odds, but writing and speaking about it too. Hillin’s project is primarily based in recovery. She seeks to add the words of the rhetors covered here to fill gaps in feminist rhetorical historiography (1). Earhart does not feature prominently in the analysis; although the 99s—a vocal and organized group of female aviators—are covered, and Earhart was their first president. Instead, Hillin focuses on lesser-known writers and flyers including Harriet Quimby, the first women licensed as a pilot in the United States and a transportation columnist for Frank Leslie’s Weekly. Other important aviators include Bessie Coleman and Willa Beatrice Brown, African American stunt pilots covered extensively in the Chicago Defender; Mary Alexander, a flying mother who threw birthday parties for her children in the air; and Jerrie Cobb, a pilot who passed all the tests to join the Mercury program but was never allowed to go to space. The book follows a loosely chronological structure, moving from the 1910s to the 1970s, and features eight analytical chapters, each of which focus on a different woman or group of women. While these women confronted a variety of obstacles in taking to the air, the driving similarity is their rhetorical acumen. As Hillin writes, “Rather than simply describing their experiences, they harnessed their rhetorical intuition to get others to act—to accept women as aviators, to train them as equals with men, and to influence the overall development of aviation and space exploration” (10). The narrative Hillin tells is not one of slow but steady progress throughout the twentieth century. In fact, in its infancy, flight had not yet been gendered masculine. As per Hillin’s telling, “there was something uniquely magic, even divine” in the fact that Harriet Quimby was taken so seriously as an expert on flying in her columns for Leslie’s (22). Indeed, like many of the women examined here, Quimby relied on her personal experience as an aviator to build her ethos, which Hillin defines as an embodied rhetoric in which “her physical self and its connection with the tool (airplane)” granted credibility (35). The world wars of the twentieth century also provide an important backdrop. Many women wrote against using the airplane as a tool for war, while others took advantage of the need for trained aviators to expand their place in the field (49). Other aviators had to negotiate the unique demands of race politics in addition to gender. African American flyer Bessie Coleman engaged in barnstorming tours and stunt flying, visual rhetorics that proved her skill, while white female aviators could skip these dangerous venues for flight because they had access to other forms of funding, training, and media outlets (62). Likewise, by the time Jerrie Cobb sought access to space, the Cold War competitive mentality had hardened space travel as solely a masculine achievement (137). To study the first few decades of women’s involvement in aviation is to see women doing painstaking and effective rhetorical work to grab and maintain a place in a field in which they have consistently excelled since its inception,” Hillin concludes (165). [End Page 473] Hillin has undertaken an impressive amount of archival research, and the sources she uses to recover the rhetorical actions of these female aviators are wide-ranging. She analyzes personal letters, news coverage, books, speeches, and press releases (6). The theoretical through-line for Hillin’s rhetorical analysis is Kenneth Burke’s pentad (11). This orients...

Reviewed by: Domestic Occupations: Spatial Rhetorics and Women’s Work by Jessica Enoch Kate Rich Jessica Enoch, Domestic Occupations: Spatial Rhetorics and Women’s Work, Carbondale: Southern Illinois University Press, 2019. 260 pp. ISBN: 9780809337163 Some interventions are long overdue, and Jessica Enoch knows how to make valuable interventions in the overlooked localities of gendered ideas. In Domestic Occupations, she attunes rhetorical studies to a historiography of where women work. Across the humanities, the spatial turn to recognize the politics of place considers race, gender, and sex.1 Yet, we still lack a lexicon for how places might transform the labor of marginalized people over time. Enoch approaches this task with rhetorical theory to examine how the domestic duties within private spaces, like a home, were rhetorically extended to less traditionally feminine tasks in public spaces. [End Page 240] The book begins with a rich variety of scholarly work in rhetoric, geography, and gender studies to make the case for the gendered and rhetorical history of spaces. For Enoch, “There is no arhetorical space” (9). Throughout the book, her archival work attends “to the material, ideological, pictorial, emotive, discursive, and embodied site of the home and the ways this site’s spatial rhetorics constrained and made possible women’s work outside the domestic arena” (171). These texts are representative of dominant discourses that centered white middle-class women and excluded what she calls other women. She cleverly guides readers through the spatio-rhetorical transformations of the schoolhouse, the laboratory, and the child-care center, making a notable claim in each case. Her first transformation is centered around New England schoolhouses in the nineteenth century. The notable claim that arises in this chapter is the idea that spaces perform gender like humans do. Aligning herself with Judith Butler, she argues, “when a space takes on new gendered meanings, the bodies expected to inhabit it and the identities constructed within it also change” (33). Initially, the home was imagined as offering a feminized place of stability and comfort while the classroom was likened to a masculinist prison wherein students were harshly disciplined. When the harshness of the schoolroom was critiqued and remodeled, the classroom gradually became a space for women once it was reconfigured to be more like the feminine home. The subsequent entry of women into the teaching profession resulted in class mobility for some women while also devaluing the teaching profession as a whole, due to its perception as a form of feminized labor. Domestic scientists towards the end of the nineteenth century serve as the second transformative case study. The notable claim here is that ethos can be revised through spatial rhetoric. Domestic scientists, Enoch argues, revised the home into a site of scientific complexity. While these women, often conservative and white, frequently distanced themselves from the women’s rights movement, Enoch insightfully points out that their cautious rhetorical reconfiguration of the home allowed many women to pursue science education. Through domestic advice manuals and public kitchen demonstrations, homemaking was transformed into a practice that required a laboratory. Enoch acknowledges that this transformation was very white and relied on some normative conceptions of femininity, but it raises an intriguing set of implications. Of all the chapters in the book, this is perhaps the richest in scholarly opportunities. Those invested in how white women engage in rhetorical strategies of whiteness may find this chapter useful. Additionally, scholars in the rhetoric of science, medicine, and technology might see potential to approach their objects of study with spatio-rhetorical analysis. The final case study is devoted to how the wartime child care center was transformed into an acceptable place to offset domestic labor and how it reverted back to an undesirable place at the end of World War II. In this chapter, Enoch makes the notable claim that spatial rhetorics are capable of being emotive. The maternal qualities of the home had to be rhetorically [End Page 241] transferred to the wartime childcare center to get women working during the war. Enoch skillfully asserts that visual rhetorics and the enargeia of childcare employees cuddling with children communicated that the center could operate as a secondary home To convince women to return to...

Book Reviews Jean Bessette, Retroactivism in the Lesbian Archives: Composing Pasts and Futures. Carbondale: Southern Illinois University Press, 2017, 202 pp. ISBN 9780809336234 Since queer, feminist, and rhetorical scholars have "returned" to the archive over the past twenty years, Bessette's book brings queer and feminist archival theories to bear on rhetorical studies. Bessette is concerned with how lesbian collectives have composed a past for themselves and oriented themselves toward new possibilities for identification that could challenge "then-present social and political denigrations of same-sex desire and rela­ tionships" (2). The result is a retooling of familiar rhetorical concepts for the study and historiographic consideration of queer and feminist collective pasts. Bessette's rewriting of archival logics through rhetorical concepts is useful for both queer rhetoricians and wider archival studies. Particularly, her read­ ing of identification through retroactivism and the notion of "documenting the search" offer new approaches for any archival engagement (125). The book begins with the theoretical insights of queer and feminist archival scholarship before turning to specific technologies in each chapter that offer insights into the retroactivist impulses of lesbian rhetors and lesbian communities. Bessette begins by drawing on Lucas Hilderbrand's "retroactivism," a concept that Hilderbrand uses to engage his longings for a personal and nostalgic queer past. Bessette links retroactivism to the account of identifica­ tion given by Kenneth Burke to argue that grassroots collectives sought the "displacement—and replacing—of pejorative accounts of lesbianism with new versions of the past" (10). These revisions of the past were marshalled to produce different definitions of lesbianism and open space for alternative futures. She argues that rhetorical studies, and particularly Burke's under­ standing of identification, already offer the requisite tools for engagements with queer archives. Chapter one contends that Del Martin and Phyllis Lyon's influential book LesbianANoman is itself an archive. Bessette reads the short personal stories contained in LesbianANoman as anecdotes that demonstrate the ephemeraUty of the queer archive (26). She argues that these anecdotes were arranged to produce a respectable white middle-class narrative of lesbian identity, in line with the goals of its authors who were leaders in the Daughters of Bilitis. This identity was framed to challenge dominant homophobic social narratives, and Bessette centers the function of exclusion in identification. Rhetorica, Vol. XXXVhl, Issue 2, pp. 225-234. ISSN: 0734-8584, electronic ISSN: 15338541 . © 2020 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www. ucpress.edu/joumals.php?p=reprints. DOI: https://doi.org/10.1525/rh.2019.38.2.225 226 RHETORICA Whereas chapter one addresses a printed text as archive, chapter two turns to a "place-based" understanding of archives through a reading of the Lesbian Herstory Archives (LHA) and the June L. Mazer Archives (JLMA). Bessette argues that classification in the LHA, an archive which accepts "any­ thing a lesbian has touched," operates as a "rhetorical topos" which "blurs the boundaries between archival categories, creating the conditions for a genera­ tive, flexible identity" (61). Bessette contends that the LHA offers the possibil­ ity of making seemingly disparate connections through browsing. Bessette then turns to the JLMA and a photograph collage from Ester Bentley that sits in view outside of the domain of a particular collection. Due to its position, she argues that these photos instill in visitors a sense of possibility for historical connection that crosses the categories of the archive. The chapter concludes with a brief review of the JLMA's recent partnership with UCLA. Bessette suggests that the queemess of the JLMA's collection may be lost when viewing their materials in UCLA's straight, institutional reading room, a point I believe needs additional substantiation. Chapter three turns to documentary films and their "fabrication of the past" (95). Bessette reads these films as allowing for a composition of lesbian histories that challenge "dependencies upon lesbian history for present sexual identification" (97). Bessette analyzes five historiographic lesbian films through a relevant multimodal rhetorical strategy. The films and their respective strategies include "unstable identity categories" in The Female...

Reviews Jay Timothy Dolmage, Disability Rhetoric. Syracuse, New York: Syracuse University Press, 2014. 349 pp. ISBN: 9780815634454 Shannon Walters, Rhetorical Touch: Disability, Identification, Haptics. Columbia: University of South Carolina Press, 2014. 257 pp. ISBN9781611173833 Rhetoric is an ability. So begins the blithe Englishing of Aristotle's defi­ nition of rhetoric. In early translations it appears as a faculty, following the European vernaculars and the Latin translation of Aristotle's dunamis with facultas. Yet even if this translation flattens the complex significance of Aristotle's original sense, it happily brings us within the orbit of pressing problems in our own moment. We may now pose new questions: If rhetoric insists it be thought of as an ability, how might we inflect this idée reçue of the field by thinking through the meaning of rhetoric from a position of disability? This is not a matter of simple inversion. Disability is not the opposite of ability but the suspension of the assumptions of ableism. In this sense, it is like disbelief. We say we are in a 'state of disbelief' precisely when we are presented with incontrovertible evidence that commands assent. Disability rhetoric, then, seeks to illuminate the unreflective assump­ tions and heuristics that we commonly use to make judgments concerning the conditions and abilities of others. In Disability Rhetoric and Rhetorical Touch: Disability, Identification, Haptics, Jay Timothy Dolmage and Shannon Walters offer book-length elaborations of what such a rhetoric might be. The authors do not simply challenge rhetoric about disability or examine disability advocacy rhetorically, although both these aims are crucial to their projects. The authors argue that a thoroughgoing criticism of ableism requires a reexamination of rhetorical history and theory. The classical tradition's inability to think through bodily difference made it narrower than it otherwise might have been. Quintilian asserted that the limits of rhetorical education could be found in the body of the orator, "for assuredly no one can exhibit proper delivery if he lacks a memory for retaining what he has written or ready facility in uttering what he has to speak extempore, or if he has any incurable defect of utterance." Any such "extraordinary deformity of body ... cannot be remedied by any effort of art" (11.3.10). Unable to think of bodily difference as anything but deformity gave ancient rhetorical theory a Rhetorica, Vol. XXXVI, Issue 2, pp. 205-215. ISSN: 0734-8584, electronic ISSN: 15338541 . © 2018 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www. ucpress.edu/joumals.php?p=reprints. DOI: https://doi.org/10.1525/rh.2018.36.2.205. 206 RHETORIC A false sense of order and precision, erected upon the assumption that audience and orator could be treated as positions within a discourse rather than approa­ ched within the complexity of situated and contested embodiment. These books can be taken as complementary projects. Dolmage wishes to extend and reinterpret the repertoire and vocabulary of critical rhetoric. Walters focuses on the inventional strategies of disabled persons and their circles. This is not to say that Dolmage neglects invention or Walters criti­ cism. Disability rhetoric shows the imbrication of criticism and invention, since both rely upon practices of sensitization. We might extract six maxims to serve as guideposts for furthering this critical-inventive program. 1. Modes of communication require invention and shape meaning. The con­ stitution of communication between Annie Sullivan and Helen Keller in the now famous story of their experience at the water pump (Sullivan hand­ spelling 'water' in Keller's palm after running water over her hand, marked by Keller as her entry into language) resulted from a pragmatic awareness of possible channels of meaning-making. Walters argues that many of these possibilities reside within touch and her book serves in part as a collection of examples showing the variety and power of haptic communication. Perhaps even more importantly, a disability rhetoric would attend to the way in which the mode of communication constitutes and affects the meaning of the communication. Rather than appealing to the sensus communis...

Book Review| November 01 2016 Review: Visual Rhetoric and Early Modern English Literature, by Katherine Acheson Katherine Acheson. Visual Rhetoric and Early Modern English Literature, London: Ashgate, 2013. 174+x pp. ISBN: 9780754662839 (hardback) Chris Dearner Chris Dearner Chris Dearner University of California, Irvine 2414 N.W. 32nd St, Oklahoma City, OK 73112 USA cdearner@uci.edu Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (2016) 34 (4): 458–460. https://doi.org/10.1525/rh.2016.34.4.458 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Cite Icon Cite Search Site Citation Chris Dearner; Review: Visual Rhetoric and Early Modern English Literature, by Katherine Acheson. Rhetorica 1 November 2016; 34 (4): 458–460. doi: https://doi.org/10.1525/rh.2016.34.4.458 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. © 2016 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www.ucpress.edu/journals.php?p=reprints.2016 Article PDF first page preview Close Modal You do not currently have access to this content.

458 RHETORICA per “ UKOxpini^"; p. 212 "Luzzato" per "Luzzatto ; p. 217 (Van Elst - Wouters 2005) e p. 218 (Wouters 2007) "xAigk;" per “ xAia^". Giuseppe Arico, Milano Katherine Acheson. Visual Rhetoric and Early Modern English Literature, London: Ashgate, 2013. 174+x pp. ISBN: 9780754662839 (hardback) At first glance, the word "rhetoric" in the title of Katherine Acheson's Visual Rhetoric and Early Modern English Literature is a red herring; the book seldom mentions rhetoric explicitly, and does relatively little work with Renaissance or contemporary rhetorical theory. Instead, it focuses on the ways in which various modes of visual representation in the sixteenth and seventeenth century enabled or facilitated certain types of "brainwork," or "habituated thought, perception trained by exposure, active engagement, repetition, and extension," and how these types of brainwork condition the literature of the period (2). It is in this engagement with brainwork, however, that Visual Rhetoric takes up questions that are inherently rhetori­ cal in nature. Acheson's work can be understood as an investigation into the relationship between conventions of visual representation (visual rhetorics) and frameworks for the communication of human experience (cognitive rhetorics) in 16th and 17th century literature. Acheson's method and central thesis are thoroughly historicist. Each chapter begins with an extensive discussion of a particular mode of visual representation current in the English Renaissance - beginning with military and horticultural diagrams, and moving through dichotomous tables, fron­ tispieces and illustrations in manuals on drawing and writing, and ending by considering various modes of visually and textually representing ani­ mals. The historicizing work is supplemented and strengthened by the inclusion of reproduced examples of each mode being discussed. Acheson's dedication to providing thick historical context is consistent and productive, and this consistency allows the work to display a considerable sensitivity to variations within and differences across modes of visual representation. The first chapter is a particularly strong example of a productive and novel historicism. It considers shifting subject positions in Andrew Marvell's Upon Appleton House as they relate to the subject positions created and pos­ ited by military and horticultural diagrams common in the renaissance, modes of visual encoding which render intelligible the perspective of the speaker in Marvell's famous poem. The analysis in this chapter allows the peculiar mixture of perspectives demonstrated in Marvell's work and ana­ lyzed in the diagrams to serve as an excellent textual lens that not only eluci­ dates a famously complex poem but does so in a way that gears in nicely with existing scholarship. The second chapter discusses dichotomous tables, especially those published as genealogical guides to bibles and the wavs in which they Reviews 459 "powerfully instantiate central concepts of Protestant theology" (60), namely those having to do with the necessary and predetermined relation­ ship between God, Adam, and Christ. The chapter discusses three ways in which the cognitive rhetoric of the dichotomous table structures and is interrogated by Milton's Paradise Lost. And while the reading in this chapter is more expansive than in the first, it is also less complete - although an incomplete reading of Paradise Lost is a mark of honest intellectual engage­ ment rather than a deficiencv of method. The third chapter discusses the visual components of manuals on drawing alongside the representation of artists and writing in manuals on writing, arguing that the visual rhetoric of drawing manuals connects art with artifice, equipment, and scientific modes of knowing. In doing so, those diagrams on art exclude writing from participating in the realm of the scientific and artificial. Acheson goes on to argue that exactly this exclu­ sion is turned to writing's benefit in order to strengthen the traditional ekphrastic conclusion - that poetry is superior to painting - in Marvell's "Last Instructions," emphasizing the ways in which Marvell has adapted a traditional genre to deal with contemporary issues surrounding the rela­ tionship between painting and art. The final chapter discusses multiple modes of representing animals in late seventeenth century literature - from the natural historical and anatom­ ical to the fabular - and how animals are included, evaluated, and problematized by Aphra Behn's Oroonoko. Similarly to the previous chapter, the visual rhetoric of the diagrams becomes an opportunity to discuss...

This paper explores the intersections of visual rhetoric, cognition, and phenomenology in two early illustrated print texts, William Caxton's Mirrour and Description of the World and Stephen Hawes's Pastime of Pleasure. Through this analysis, I argue that the visual, material features of these works (illustrations, inscriptions), in addition to their spatial figures and metaphors (mirrors, colors, and measurements), mediate and connect reader to image, perceiver and perceived object, and rhetorical form and matter. Caxton's Mirrour and Hawes's Pastime portray rhetoric as ultimately dependent on the visual imagination, or fantasy, of the reader.

This paper explores the intersections of visual rhetoric, cognition, and phenomenology in two early illustrated print texts, William Caxton’s Mirrour and Description of the World and Stephen Hawes’s Pastime of Pleasure. Through this analysis, I argue that the visual, material features of these works (illustrations, inscriptions), in addition to their spatial figures and metaphors (mirrors, colors, and measurements), mediate and connect reader to image, perceiver and perceived object, and rhetorical form and matter. Caxton’s Mirrour and Hawes’s Pastime portray rhetoric as ultimately dependent on the visual imagination, or fantasy, of the reader.

Reviews 419 tional textual forms than they might have appeared when first becoming widely available and used in the 1990s. And yet, the contemporary history narrated here doesn't always seem right. McCorkle acknowledges that many digital rhetoricians often equate delivery with medium. He himself seems to equate them early in his book, in some of its opening sentences: “This book is about the moving parts of the rhetorical process: the raised arm, the clenched fist, the shifting counte­ nance, and (more recently) the array of typefaces, color palettes, graphics, background audio files, and other multimodal content used to help covey a given message to its intended audience" (1). Ultimately, however, the materi­ ality of digital interfaces is not embodiment, even if such interfaces remediate approaches, positions, and stances from embodied rhetorical performances. Late in the book, McCorkle acknowledges this: "In the era of digital writing, rhetoric has disembodied the canon of delivery" (160). Such disembodiment suggests that what is at stake in contemporary delivery is more than just an interplay of older media forms and newer media forms. As he puts it: "expanding the theoretical scope of delivery to include texts not uttered by the speaking body extends the conceptual language of the canon beyond the traditionallv understood constraints of space and time, making it a far richer part of the rhetorical process" (160). Yes, surely he's right. But perhaps digital delivery is not just disembodiment, or portends a new set of relations between communication and bodies? Such a question lies beyond the scope of McCorkle's book, but it's to his credit that his analysis leaves us wondering what new bodies of knowledge our digital technologies might deliver to us. Jonathan Alexander University of California, Irvine Costelloe, Timothy M., ed. The Sublime: From Antiquity to the Present. Cambridge: Cambridge University Press, 2012. 13 + 304 pp ISBN 978-0-521-14367-7; Eck, Caroline van, Stijn Bussels, Maarten Delbeke, Jurgen Pieters, eds. Translations ofthe Sublime: The Early Modern Recep­ tion and Dissemination of Longinus' Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre. Leiden: Brill, 2012. xix + 272 pp. ISBN 978-90-04-22955-6 Just as aesthetics is undergoing something of a revival in classical studies, so too is the heritage of the sublime increasingly getting its due again. The two collections under review contribute mightily to both trends. And they do so above all by marshaling a strong army of scholars from a number of disciplines, from Classics and modern literatures to philosophy, geography, architecture and design, art history, theater, and rhetoric. The diversity pays off: the sublime is shown to flourish in each of these areas, 420 RHETORICA often unexpectedly, as if diffusing its radiant light into all conceivable corners of the modern world and into the present. If you had any doubt whether Longinus made an impact on modernity, you need look no further than here. Costelloe's volume, though not explicitly concerned with the reception of Longinus, is nonetheless heavily informed by this agenda. The Introduc­ tion and the first chapter ("Longinus and the Ancient Sublime" by Malcolm Heath) set the tone for the remaining chapters, which quickly rush into the eighteenth century, starting with Burke, Kant, representatives of the Scot­ tish Enlightenment (a refreshing change), French neoclassicists, and then the sublime of Lyotard and company, the most recent French heirs to Boileau and company. These essays constitute the first part of the collection, which offer less of a "Philosophical History of the Sublime" than a drastically fore­ shortened version of that history. The second part spreads out in fascinating ways to look at the sublime in the Netherlands and in America in the 18i/7 and 19f/z centuries, in the fields of the philosophy of nature and the environment, in religion, among British Romantics, and against the background of the fine arts question and in architecture. The most interesting essays are those that broach unfamiliar territory. The associationalism of Gerard, Karnes, Alison, and Stewart reconstructed by Rachel Zuckert and put in relation to the sub­ lime will likely send readers off to the library (or to Google) in search of X these intriguing figures, as will Eva Madeleine...

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...

RHETORICA 102 While several of the articles in the volume do address the extended influence of the Scottish tradition in countries formerly dominated by Britain, conspicuously absent from the collection is any discussion of English Studies on the Indian subcontinent. Taken as a whole, however, the volume presents an expanded account of the historical origins of English Studies and illustrates the degree to which we owe the institutionalization of university English to Scottish culture. DANA HARRINGTON Syracuse University Richard Morris, Sinners, Lovers and Heroes: An Essay on Memorializing in Three American Cultures (Albany: State University of New York Press, 1997) xxi + 237 pp. A modest but noteworthy contribution to research by rhetoric scholars on public memorials, this book focuses on symbolic responses to Abraham Lincoln's death during the nineteenth century in the United States. Morris asserts, "I know of no other event that so exactly marks the dramatic rupture of the social structure of a nation and that so clearly lays cultural transformation open to observation than the death of Abraham Lincoln" (p. 2). Written in a clear and accessible style, Sinners, Lovers and Heroes argues "the thesis that memorials are fundamentally rhetorical and cultural forms of expression, that a careful examination of American memorializing discloses the contours of at least three distinct American cultures, and that shifting visual and discursive memorial patterns across time reveal the ascendancy and subordination of these three cultures and their cultural memories" (p. xii). The organization of Sinners, Lovers and Heroes is straightforward. An introductory chapter articulates an orientation to the rhetoric and culture of public memorials. In the three following chapters, each of the "three cultures" is the central focus of one chapter, corresponding to the three key terms in the Reviews 103 title, Sinners, Lovers and Heroes. Specifically, Morris considers patterns of response to Lincoln's death, as it was represented by members of cultures that Morris names "religionists", "romanticists", and "heroists" (p. 42). The conclusion synthesizes Morris's claims that "Different people memorialize, embrace, and seek to codify through public memory their different images of the memorable not merely because of temporal or spatial or physiological divergences, but because different cultures with different worldviews and ethoi require different images of and from their members" (p. 153). One strength of Sinners, Lovers and Heroes is the extensive use of published primary materials from various nineteenth century figures who commented on Abraham Lincoln's death. Morris claims, "what we see in the transformation of Lincoln's image, then, is not a single people creating and later transforming an element of the symbolic code of collective memory, but the rise and fall of different cultures, each of which positions Lincoln within a different world view and ethos" (p. 27). Another strength of this book is the attention to accumulating details that Morris synthesizes into an encompassing perspective in his conclusion. Unfortunately, however, the book makes little explicit use of contemporary rhetoric scholars' research on public memorials, public memory, or visual rhetoric, even though the book seems to be arguing, at times, with some key figures in these areas of research. Although the introduction and the conclusion stress "differences" among the U.S. people, there is little explicit attention to either race or economic class in the body of the volume (for his comments on race, pp. x, 111; on economic class, pp. 127, 142-43, 147-49). The discussion of the "religionists" depends heavily upon a Christian conception of spirituality. As one consequence, perhaps, the speech by a Jewish leader, Max Lilienthal, is discussed under the "heroists" (pp. 125-35). In the chapter on "heroists," one abiding oxymoron is the manifestation of leveling styles reflecting an egalitarian politics, because placing some people above most others is ordinarily a requirement for having "heroes". Morris writes, "True to the mandates of the first Heroist gravescape, however, cemeterial rules and regulations in lawn cemeteries require markers to be small and, in the vast majority of instances...flush with the ground" (p. 149). 104 RHETORICA Some key concepts would perhaps have benefited from explicit, technical explanation. For example, the use of "hegemony" in Morris's book is disconnected from Antonio Gramsci's use of the same term...

120 RHETORICA Rhétorique et image. Textes en hommage à Â. Kïbédi Varga, ed. Léo H. Hoek and Kees Meerhoff (Amsterdam: Rodopi, 1995), 318 pp. The subject of this book has been aptly chosen: it echoes and honours Kibédi Varga's published work on visual rhetoric and narratology (for example, Rhétorique et littérature and Discours, récit, image, as well as numerous articles—the bibliography of his works in French, German, English, Dutch, and Hungarian runs to twenty packed pages); it also reflects his founding of the Association for Word and Image Studies ten years ago. Rhétorique et image ranges widely over several disciplines and yet it has a unity of theme and purpose. It is both illuminating and open-ended, refreshingly undogmatic and tentative, and thus, paradoxically perhaps, goes some way towards defining a methodology. Some of the writers here allude to the evolution of their subject and apply the ancient topoi in a modem context. What is new in this book is the narrowing down of the subject to the place of rhetoric in word and image studies. There are four sections: "Reflexions interarts," "Reflexions rhé­ toriques," "Echanges," and "Reflets: fins de siècle," necessarily overlap­ ping, but providing a useful focus. The academic papers are framed and enhanced by a previously unpublished introductory poem, "Un retour à San Biagio," by Yves Bonnefoy, and another closing poem by Salah Stétie, "Fièvre et Guérison de lTcône." Sorin Alexandrescu starts from a photograph taken by the author, of bottles and glasses on a table, and analyses the limits of meaning such an unposed photograph may have. While not representing action, it contains a "récit," presupposing past action and implying a future; but if it is to have meaning, some external information (title, supporting text, context) is necessary to "narrativise" it. Elrud Ibsch gives a very critical account of Charles Jencks' The Language of Post-Modern Architecture, rejecting his idea that this architecture is distinguished from modernist architecture by its semantic richness and its power of communication. His theory of build­ ings as metaphors (in relation to other buildings) is also found wanting because of the confusion over whether the metaphor lies in the observer, the building, or the architect, Ibsch concludes that Jencks' method is that of a critic, who may therefore be allowed personal judgments and a depar­ ture from impartiality, but it is not helpful to historians of literature or architecture. David Scott addresses squarely the rhetoric of images through the example of Dutch postage-stamps of the last forty years, a Reviews 121 particularly beautiful series of typographic and commemorative stamps designed by leading graphic artists. Scott concentrates on the rhetorical figures of repetition, pleonasm, emphasis, enumeration, and parallelism, all in the larger context of communication (semiotics and hermeneutics) and the balance between decorativeness and persuasiveness. Leo Hoek concludes this first section with an attempt at classifying the ways in which text and image may interact, among which are pictorial poetry, clas­ sical ekphrasis (or "art transposition"), novels about artists, art criticism, history, or theory. The author concludes that it is not so much the nature of the text or image which provides the best basis for its classification, but rather the process of production and reception. In production what mat­ ters is which comes first, text (for example, book illustration) or image (for example, emblematic literature), but for reception it is simultaneity, which is important since text and image appear together, although one has pri­ macy over the other. Anne-Marie Christin begins the second, more strictly rhetorical sec­ tion with an analysis of memoria and actio, subjects which usually receive little attention from historians of rhetoric; she concentrates on memory as an important component of visual thought. Starting from the legendary anecdote of Simonides' identification of the guests at a feast after the roof had collapsed, she qualifies this by a discussion of ideas of space and place from Cicero to the birth of printing and on to the present day. She reflects on what the rhetoricians say about writing, images, and the need for blank spaces in the formation of memory. Bernard Vouilloux looks at...

Research Article| August 01 1990 Music with Words: Semiotic/Rhetoric John McClelland John McClelland Victoria College, University of Toronto, French-Ètudes françaises, 73 Queen's Park Crescent, Toronto, Ontario, Canada M5S 1K7 Search for other works by this author on: This Site PubMed Google Scholar Rhetorica (1990) 8 (3): 187–211. https://doi.org/10.1525/rh.1990.8.3.187 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 John McClelland; Music with Words: Semiotic/Rhetoric. Rhetorica 1 August 1990; 8 (3): 187–211. doi: https://doi.org/10.1525/rh.1990.8.3.187 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 Copyright 1990, The International Society for the History of Rhetoric1990 Article PDF first page preview Close Modal You do not currently have access to this content.