This article explores how scholarship informed by queer theory can be brought to bear on social class within the academy in order to open spaces for thinking about our professional ethos in English studies. I offer the term queerly classed faculty to accentuate the usefulness of bringing queer theory into conversation with questions of class, as well as to point to the strange or perverse sense of displacement that many faculty experience in relation to professional normalization. Through a brief analysis of queerly classed ruptures in normativity that tend to coalesce around questions of propriety and civility, I illustrate how we might use shame to expand and open the normative horizon of our collective professional subjectivity and ethos in English studies. Ultimately, I argue that the relational awareness and tension of ambivalence that shame produces for many queerly classed faculty offers an ethical calling, not to dispel the shame that is born of an interest in identification, but instead to use the embodied experience of shame to create a heightened sensitivity to our relation to self and others within our professional lives, such that we might find common ground among our differences.

Recent explorations position multimodality as a largely curricular practice wherein the body typically is not figured as a potential mode of meaning making.  Such a projection not only fails to acknowledge extracurricular uses of such a rhetoric but also fails to acknowledge the role of the body in and especially for composing.  In hopes of countering this limited yet common understanding of multimodality, I consider an Auburn University 2004 defensive football play and sketch a picture of how embodied multimodality figures heavily in the literate activity surrounding college football. I end with a brief word on how Gunther Kress’s theory of multimodality encompassing the material and the bodily—two important concepts at play when examining football as literate activity—informs classroom practice through paving the way for embodied multimodal pedagogies.  Ultimately, I hold that an analysis of extracurricular embodied multimodality in college football invites student-athletes to hone a beneficial form of second-nature embodied rhetoric absent in curricular multimodality.

The Red Hat Society, an international social club for women over age fifty, offers its members a social outlet during aging. Departing from a common focus on members' emotional health, a rhetorical lens on the red and purple hats and costumes the women wear offers a new consideration of the groups' value. Particularly, the creation and donning of “regalia” by members of a Rhode Island chapter constitute instances of material rhetoric, or texts that challenge public perceptions of aging women and provide rhetorical opportunities that aging women take to change the conditions of their own and other women's lives.

In this paper we analyze the works of the Keio-NUS CUTE Center at the National University of Singapore in order to uncover the dispositions of "analogness" and "digitalness" in regards to the relationship between users and interfaces. By comparing concepts of embodiment from a philosophical perspective, paired with the computer science treatment of analog and digital data, we derive a contingent definition for analog-like and digital-like interaction. With case studies as reference, we outline a continuum to describe types of interfaces based on these dispositions, which could then be further analyzed using characteristics for designing analog-like, digital-like or hybrid-like interactive systems. We then propose a new methodology for designing novel interactive systems that are analog in nature, called interactive analog media (IAM) and finally describe a prototype system called Linetic, which exemplifies some of the characteristics described in this paper.

Although emotions are an important facet of teaching and learning in all classes, emotional literacy plays an especially significant role in classes that engage critically with difference. My article redefines and theorizes critical emotional literacy, proposing that we understand it as a social practice that must be developed not only by means of analytical strategies, but also by means of contemplative pedagogy. Addressing the nature of attention and the embodied experience of emotion is crucial if we are to cultivate the emotional literacy necessary for ongoing critical engagement with difference.

“Medical rhetoric, much like gender and body rhetorics, enjoys a rich interdisciplinary history and so feels at home in a journal dedicated to the rhetorical study of socially significant and timely topics. We seek to expand the field’s endeavors with this special, double issue.”

Michael MacDonald , University of Waterloo Enculturation : http://enculturation.net/martial-mcluhan-2 ( Published: June 26, 2012 ) Editor’s Note: This is part two of an essay published in Enculturation’s special issue on Marshall McLuhan, “McLuhan @ 100.” In “Martial McLuhan I: Framing Information Warfare,” Michael MacDonald argues that McLuhan’s basic theoretical frame for understanding media was rhetoric. This rhetorical focus allowed McLuhan to see that war is about both the destruction of physical infrastructure and the shaping and reconfiguring of bodies and brains, affects and attitudes. In “Martial McLuhan II,” MacDonald uses McLuhan’s understanding of media ecology, embodiment, and information environments to examine military theory. That analysis presents a detailed account of how Info War strategies take aim at the body and brain by using information as a “soft kill” weapon. In On War , Carl von Clausewitz argues that every battle revolves around a “central hub” of activity—a center of gravity or “heavy point” ( Schwerpunkt )—that forms the nodal point of the enemy’s material military power. Info War, however, makes civil society itself the center of gravity. Info War targets not only the physical infrastructure of information (nodes, cables, links, servers, towers, routers, electricity grids) but also the decision makers, “human or automated,” plugged into the grid. “The friendly or adversary personnel who make decision and handle information,” notes the Joint Publication on Information Operations , “constitute a critical component of the GII [emphasis added]” (Glossary GL-6). According to McLuhan, the “sheer inclusiveness” of information as a medium and as a concept expands both the field of battle and the semantic field of war. “Real, total war has become information war,” notes McLuhan in The Medium is the Massage , “it is being fought by subtle electric informational media—under cold conditions, and constantly” (138). Building on The Mechanical Bride…

Space matters, and regardless of our commitments to one theoretical framework or another, we should continue to invite students to write about space and about their embodied experiences with/in space. In so doing, however, we should be mindful of the worldviews our spatial rhetorics and pedagogies present and authorize, however implicitly.

100 RHETORICA his audiences. He was also more interested in practical politics than Mon­ taigne, as registered in his careful representations of the rivalries and tempo­ rary alliances in the Henry VI and Henry IV plays, and later in the not wholly risible representation of the plebeians in Coriolanus, which he sets against the hero's uncompromising denunciations of popular rule. Shakespeare's larger interest in representing the nation leads Mack to focus on Falstaff as common man-appetitive, exploitative, cowardly, defiant, and comradely according to circumstances—the human embodiment of copia. For his part, the later Montaigne more soberly celebrates the sensual as well as the moral and intellectual Socrates: "(B) The most beautiful lives to my taste are those which conform to the common measure, (C) human and ordinate, without miracles though and (B) without rapture" (De I'experience, quoted p. 135). he final chapter, "Ethical issues in Montaigne and Shakespeare" is best described as Peter Mack's commonplace book. Here he addresses such topics as Death, Revenge, Sex and Marriage, Fathers and Children, and compares Montaigne's ruminations on these matters to Shakespeare's. Even seasoned hands will be struck not only by the resemblance of the ideas voiced by the two writers but also by the similarly multiple perspectives each idea elicits, further proof that the grammar school habit of arguing in utramque partem was, as Jonson might say, "turned to blood." Despite some local disappointments, Mack's book achieves the end of all good scholarship and criticism: it makes us want to get back to Montaigne and Shakespeare with newly inquisitive eyes. Joel B. Altman University of California, Berkelei/ Patricia Roberts-Miller, Fanatical Schemes: Proslaven/ Rhetoric and the Tragedy of Consensus, Tuscaloosa, Alabama: University of Alabama Press, 2009. x + 286 pp. Cloth $38.95. ISBN 978-0-8173-1642-6. Paper $29.95. ISBN 978-0-8173-5653-8. Patricia Roberts-Miller's Fanatical Schemes is a capacious study of pro­ slavery thought in the south from 1835 through the coming of Civil War in 1861, though she sometimes glances backwards as far as the ancient world and forward to the Second World War and even occasionally the contempo­ rary United States. It also deals with psychological theory and fiction. Thus, this expansive book covers a lot of time and intellectual ground. There are many lines of argument running through this wide-ranging volume; the pri­ mary thrust is how proslavery rhetoric - often expressed in oratory, though often in print - shaped the course our nation traveled toward Civil War. "The tragedy of consensus" part of the subtitle is that proslavery rhetoric went too far and that led to the South's extremism and ultimate downfall. RobertsMiller presents one of the most comprehensive monographs in recent years Reviews 101 on the role of arguments and ideology in the coming war. Where historians have focused on the threat to the slave economy, the breakdown of the two party system, and the threat that slave labor posed to Northern free labor, Roberts-Miller argues that proslavery rhetoric explains (and even shaped) the movement towards war. (236) The book is set in motion by the abolitionist literature controversy of 1835, in which abolitionists used the US mails to distribute - or attempt to distribute - anti-slavery literature in the South. Vigilante groups and bon fires seem to have taken care of some, perhaps most, of the literature. However, many historians (and people at the time, too), blamed the abolitionists and that episode for starting the shift towards proslavery radicalism. RobertsMiller establishes three key points early on: proslavery rhetoric was welldeveloped before 1835; proslavery advocates silenced antislavery advocates by blaming them for inciting slave rebellion; and South Carolina was the center (or perhaps origin is a better phrase) of much of the proslavery advocacy. To stop criticism proslavery advocates thus harnessed fear that any criticism of slavery might lead to rebellion. That led to a cycle of silencing of dissenters, which made possible - perhaps even likely - more extreme rhetoric. Roberts-Miller develops this argument by first showing the ways that proslavery advocates stifled dissenting opinions - sometimes through threats of violence - which in turn led them to overestimate their support. (31) Then...

Cognitive scientist Andy Clark (2008 Clark , A. ( 2008 ). Supersizing the mind: Embodiment, action, and cognitive extension . New York : Oxford University Press .[Crossref] , [Google Scholar]) has argued, “the study of mind might … need to embrace a variety of different explanatory paradigms whose point of convergence lies in the production of intelligent behavior” (p. 95). This article offers technical communication research as such a paradigm and describes technical communication research past and present to argue that our disciplinary knowledge of tools, work environments, and performance assessment is a necessary complement to a more robust science of the mind.

The Present Tense staff would like to welcome the guest editors for our 2012 special issue on medical, gender, and body rhetorics.

Different approaches to expertise and argumentation are discussed. After introducing the problem of expertise and its present day significance in a historical context, various connections with the study of arguments are highlighted. The need for and potential of argumentation analysis to contribute to existing research in social epistemology, science studies, and cognitive science, is discussed, touching on the problems of reasoning and argumentation, embodiment, tacit knowledge, expert context versus public context, expert disagreement, persuasion versus justification, and argument analysis as meta-expertise. As the arguments used by experts constitute a boundary object, we presume that a dialogue format is suitable to address central problems of the special issue “Rethinking Arguments from Experts”.

We are recruiting submissions on medical, gender, and body rhetorics for publication in a 2012 special issue.

‘Here’s a Chance to Dance our Way Out of our Constrictions’: P-Funk’s Black Masculinity and the Performance of Imaginative Freedom” considers the ways that George Clinton’s two funk projects, Parliament and Funkadelic, create new spaces for nonnormative heterosexuality and creative production. I explore issues of embodiment , sexual fluidity, and community in P-Funk’s iconography, lyrics and sound and then consider ways that black male fans have gained a sense of imaginative freedom from their music. P-Funk’s solidly funking music, hallucinatory and often politicized music, experimental cover art and wildly threatrical stage shows create a new a queer space for black heterosexual men. Most significantly, P-Funk’s music explores black experience, particularly bodily, sexual and sensual experience at points of ambiguity, vulnerability, pain, desire, and laughter, using tools of music that speak to their listeners individually and internally, as well as collectively. This power to harness emotionally strong and sometimes inchoate feeling had a powerful effect on its audience—prompting some to find unity and empathy with other black men.

Abstract RateMyProfessors.com has received critical reception in the academy: While some college teachers and administrators express support for the site, others complain that it invades their privacy and impinges on their academic freedom. This essay looks closely at one response to Rate My Professors, a weblog titled Rate Your Students that was founded in 2005. The site offers a compelling example of how Rate My Professors—and the movement to commodify higher education that it represents—affects public discourse between students and teachers. Notes 1I thank RR reviewers Duane Roen and Edward White as well as Dana Anderson, Theresa Enos, Christine Farris, Joan Pong Linton, and John Schilb, for their helpful feedback on earlier drafts of this essay. 2With a masthead that reads "Plagiarism, misery, colleagues, absinthe, snowflakes, ennui," Rateyourstudents.blogspot.com has hosted academic complaints about students multiple times a week since 2005. As of June 2010, the site closed down after five years, citing insufficient staffing as the primary cause. The original website still maintains a limited archive of its first five years. A spin-off site called CollegeMisery.com opened its doors at the same time. Both sites regularly accept and post reader comments about the drudgeries of academia, peppering them with bits of news and commentary related to higher education. Although the site's content is now somewhat more diverse than it was in the earlier years (not all posters are now attacking students, and some even defend them) the blog's initial inflammatory rhetoric has attracted attention and even inspired debate. However, the site itself is still strongly framed as a space for virulent and personalized critiques of students. 3In this essay I organize my thinking about publics according to Michael Warner's three definitions: the public as social totality (what Elizabeth Ervin terms in Public Literacy as the national public), the public as concrete audience, and the "public that comes into being only in relation to texts and their circulation" (Warner 50). Warner focuses on the third type of public, as will I in this essay. A textual public is self-organized through discourse and operates independently of structuring institutions such as the state or church. Such a public is maintained through the circulation of discourse, and one can become, even temporarily, a part of that public simply by accepting its address (61). There is then not just one public but many that overlap and intersect at local, national, and global levels. Publics represent a heterogeneous range of context and group-specific interests and values, and they are maintained through the circulation of discourse that is both personal and impersonal—that addresses us (if we accept the address) and some group of imagined strangers beyond us. 4While I want to adopt this textual understanding of public formation for the purposes of this essay, I also do not want to lose sight of what David Kaufer and Amal Mohammed Al-Malki recently refer to in their analysis of the Arab-American press as the material embodiment of counterpublics (50). Drawing on work by Nancy Fraser, Rita Felski, and others, Kaufer and Al-Malki remind us that oppressed groups generate resistant and/or self-protective rhetoric in counterpublic spaces, offering insight into how power differentials between groups structure the terms of their participation in publics. Based on this understanding, I also define publics in this essay as not purely textual but also importantly connected to embodied experience and unequally positioned in relationship to cultural power, often in ways that place them in a contested relation to one another. However, as my analysis of the interaction of RMP and RYS indicates, public power differentials do not always manifest directly in the embodied presence of the actors involved; rather, power dynamics are written into the structures that mediate a public's textual circulation. 5The exaggeratedly caustic and insulting rhetorical postures of participants in RYS are certainly legible as a kind of Menippean satire, one that indirectly buffoons student rhetoric on Rate My Professors and the attitudes it implies. By returning the volley of character assassination begun by RMP, posters reveal some measure of the childish irresponsibility inherent in the rhetoric itself. Yet, while I do think there is certainly a relationship of subtle satire at work in the interaction between these two sites, I do not choose to concentrate on this relationship in my analysis but rather to look beneath it at the more lasting and meaningful public investment that posters on RYS seem to be expressing in their work. 6Nancy Fraser provides a crucial foundation for this point in her critique of Jürgen Habermas's understanding of the public sphere. Fraser contends that Habermas's concept of the universal public actually emerged in conflict with a variety of counterpublics, which themselves represented the interests of oppressed groups who could not meet the minimal expectations of property ownership and disembodiment, which were requirements for participation in the so-called liberal bourgeoisie public sphere. In imposing dominant interests as universal and seeking to delimit the terms of what could be civilly debated (and in what language), the bourgeois liberal public sphere in fact represented a larger shift from more openly autocratic to hegemonic forms of social control (Fraser 62). While Fraser is most often credited for rendering Habermas's concept of the public as a plural one, her critical intervention more pointedly challenges the vaguely positive connotations usually associated with public dialogue. Far from being an open forum for meaningful civic discussion, Fraser finds that the so-called public sphere is a veil of rationality that kept more divisive forms of social conflict out of view. 7In her article Welch persuasively argues that we err as teachers when we present public writing and rhetoric as an individual activity. According to Welch, seeing public action as individual dangerously isolates students and makes them less able to effectively confront the complexities of privatized public space. 8My analysis of the site layout was written in the spring of 2007, and the homepage of RateMyProfessors has since changed. 9The method of purposeful sampling is, I maintain, appropriate to the site and my inquiry alike. Obtaining a random sample from a site like RMP would be not just impossible but unnecessary, since I do not aim to make generalizable claims about the broader student population as a result of my analysis. I do want to make claims about how the site structures a kind of public discourse through consumerism, and a purposeful sample is more than adequate to that task.

When Kairos, the god of opportunity, passes by, Metanoia is left in his wake. At first glance, Metanoia is the embodiment of regret, a sorrowful woman cowering under the weight of remorse. However, there is more to the concept of metanoia than feelings of regret. This article looks to the long-standing partnership between kairos and metanoia as a way to better understand the affective and transformative dimension of kairos. The kairos and metanoia partnership can take shape as a personal learning process, a pedagogical tool, and a rhetorical device. Kairos and metanoia stimulate transformations of belief, large and small, that can advance personal understanding and lead to more empathetic responses. As such, this article argues for further exploration of the kairos and metanoia partnership in rhetorical theory and practice.

This essay offers “material rhetoric” as a new addition to the usual list of categories used to describe rhetoric in the eighteenth century (neoclassical, belletristic, elocutionary, epistemological/psychological) by examining the material elements of treatises written by Joseph Priestley and Gilbert Austin. Those material elements—namely heat, passion, and impression—are tracked through Priestley and Austin’s scientific writings, thereby positioning their particular strains of material rhetoric as legacies of philosophical chemistry.

THE ACADEMY (AND OUR DISCIPLINE) has a love for grand figures. Any type of work with social movements is often seen through and discussed in terms of leaders who are easy to identify, and therefore, easily work as metonymic figureheads for their respective organizations. The speaker in this situation becomes the embodiment of the social movement, and s/he (and the organization s/he represents) is judged by hir ability to speak in accordance with the classic concepts of oratorical performance. Inevitably, this model conjures up images of a leader crafting an oration for public consumption in an offstage space; some text carefully crafted by the individual speaker working alone until the appropriate time of its release. It is easy to imagine all rhetoric, and especially unorthodox or polemic rhetorics, working in this way since it is comforting—it allows rhetoricians to make the unfamiliar familiar by pressing unusual or discomforting rhetorics into a Quintilian-like model of public performance.

Technical communication pedagogy often uses two distinct processes to help students construct user-centered documents: audience analysis and invention. However, posthuman contexts, such as virtual reality, challenge traditional methods for audience analysis and invention. In virtual environments, knowledge is constructed by and through embodied interactions with people, technologies, spaces, and ideas—and the dual processes of analysis and invention are conflated. In this article, I present data from a semester-long comparative study between two technical communication courses. Students in both courses created instructions for filming in a virtual environment, but students from only one of these courses experienced the space/place of virtual reality. The data emphasize the importance of embodied experiences in technical communication pedagogy and practice.

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...

An ecocompositional turn to suburban studies can help unlock the wider promise of environmentally oriented composition curricula by encouraging student writers to reevaluate the language in which they describe their world. As the embodiment of modern domesticity, suburban life dramatizes the fundamental role of place in the construction of writers' subjectivity.

The vandalizing of Monument to Joe Louis initiated efforts in the media to explain both the meaning of the vandalism and of the monument itself. This article engages those efforts to find an explanation linking act to object. Proceeding through the joining of acts, objects, and words, this article works toward a non-reductive account of the embodiment of rhetoric.

This essay reports on a university-school oral history project at an elementary school in Brooklyn, New York. It theorizes the dialectic of place and history as expressed in the voices of the school community and goes on to suggest some tenets for a public sphere pedagogy rooted in material rhetoric and economic geography.

Abstract In this article, we contribute to scholarship on visibility and rhetoric by examining the way in which photographs published in march 1965 issues of life magazine functioned rhetorically to (1) evoke common humanity by capturing moments of embodiment and enactment that challenged the established images of blacks in the minds of whites and held up for scrutiny assumptions and power relationships that had long been taken for granted; (2) evoke common humanity by creating recognition of others through particularity; and (3) challenge taken–for-granted ideas of democracy, reminding viewers that a large gap existed between abstract political concepts like democracy and what was actually occurring in american streets. We conclude by considering the transformative capacity of photojournalism as it mediates between the universal and the particular, and enables viewers to experience epiphanic moments when issues, ideas, habits, and yearnings are crystallized into a single recognizable image. Notes This type of discourse is exemplified by the following excerpt from Congressional Debates the year preceding the Selma marches: See "An American Tragedy, Newsweek (22 March 1965), p. 21. The article gives a complete summary of the draft of the bill completed the weekend immediately following the Selma march. Life magazine ran stories about the Selma marches in back-to-back March issues that tied President Johnson's pivotal speech in support of the bill to the photographs and other media coverage of the Selma march. And Senators referred to television coverage of the marches as impacting their view in the Senatorial debate over the bills, see Congressional Record – Senate, "Disorder in Selma, AL," 9 March 1965, p. 4504. The description of the pictures that follows was re-written after a long and frustrating effort to receive permission to reprint the photographs themselves with the article. Black Star, a photo agency with a long and respected history, represents the photographers and their work. Unfortunately, the agency charges a minimum of $300 for reprints of each civil rights–related photograph, making the cost of reprinting quite prohibitive. In our description of the artifacts, therefore, we strive to provide a brief written sketch of each picture we analyze—relying on the analysis itself to provided added dimension—and also describe its relation to others on the page and in the subsequent issue of the magazine. More importantly, we strive to provide information that will assist readers in locating the images via library resources to which they may have access. As Hariman and Lucaites argue, "Photojournalistic icons operate as powerful resources within a public culture, not because of their fixed meaning, but rather because they artistically coordinate available structures of identification within a performative space open to continued and varied articulation" (387). For a summary of this exhibit, see "In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr."<http://www.sites.si.edu/exhibitions/exhibit_main_print.asp?id=60>.

This essay challenges accepted versions of rhetorical history by recovering the mythical figure of Hephaestus and the cunning rhetoric he embodied, metis. This critical retelling offers a new and more expansive perspective on history, rhetoric, and embodiment, as it lays bare many of our assumptions about the available means of persuasion. The author asserts that a cunning approach to rhetoric might allow for the celebration of all of our embodied differences.

This essay examines the annotated description of a quilt produced by one woman to memorialize her mother who died in 1902. The quilt's function is analyzed in relationship to nineteenth-century mourning rituals and to other mnemonic aides produced and used in the nineteenth-century domestic sphere to remember-like scrapbooks and, later, photography. This study promotes memory-making as a rhetorical end and suggests a study of technologies employed in the nineteenth-century domestic sphere might reshape our conception of mnemonic activity and also a perceived separation between the rhetorical canons.

Abstract This essay examines the question of the body as it appears in Burke's texts. Drawing upon a rereading of-and friendly amendment to-Burke's action/motion writings, I argue that other terminologies of embodiment suffer from a lack of complexity and therefore offer not dialectics but rhetorics of embodiment. After briefly applying this reading of Burke to discourse on race and racial identity, the essay concludes that his action/motion polarity can be used as a critical instrument of sorts, prompting us to greater vigilance regarding the vocabularies of embodiment we employ, the terms we impose upon our bodies and ourselves.

Bill Clinton can be seen as a perfect embodiment of the contradictory tensions in capitalist ideology between production and consumption that were described by the sociologist Daniel Bell in 1976. Kenneth Burke's scapegoat paradigm explains why Clinton, as representative of this central flaw in capitalism, was marked for vehement attack and ultimate casting out. Examining the House Managers' choice of Clinton as scapegoat illuminates the danger inherent in any attempt to construct an ideologically consistent Order such as "the rule of law" and thereby seize the high moral ground.

In three voices - one as a scholar, one as a writer, and one as an alcoholic - Hindman considers the question: in what ways can our own personal writing illuminate the theory and practice of teaching composition? Demonstrating the process of composing the self within the professional, she responds both passionately and personally to literary criticisms about recovery discourse. Her purpose is to “make writing matter” and, in doing so, to attempt to dispel the tension between competing versions of how the self is constructed. She also considers how, in and for recovery, she learned to write, and how it has affected her professional writing. This type of writing, which she has called “embodied rhetoric,” offers lessons for composing a better life.

Margaret A. Syverson discusses the ways in which a theory of composing situations as ecological systems might productively be applied in composition studies. She demonstrates not only how new research in cognitive science and complex systems can inform composition studies but also how composing situations can provide fruitful ground for research in cognitive science.Syverson first introduces theories of complex systems currently studied in diverse disciplines. She describes complex systems as adaptive, self-organizing, and dynamic; neither utterly chaotic nor entirely ordered, these systems exist on the boundary between order and chaos. Ecological systems are metasystems composed of interrelated complex systems. Writers, readers, and texts, together with their environments, constitute one kind of ecological system.Four attributes of complex systems provide a theoretical framework for this study: distribution, embodiment, emergence, and enaction. Three case studies provide evidence for the application of these concepts: an analysis of a passage from an autobiographical poem by Charles Reznikoff, a study of first-year college students writing collaboratively, and a conflict in a computer forum of social scientists during the Gulf War. The diversity of these cases tests the robustness of theories of distributed cognition and complex systems and suggests possibilities for wider application.

Rita Copeland, a medievalist, reminds us that rhetoric is a the real world, circumstance, shifting and fragmented experience; in other words, a the itself (Framing Medieval Bodies 155). It is this discourse the body that concerns me here, translating temporality, circumstance, shifting interests into the following: time, space, weight. These three are the terms I will pursue, focusing on the work Milan Kundera and the late Andre Dubus as examples. They bring the bodies their characters into existence using space, weight, and time; that is, they write the body-inscribe it, mold it, shape it, give it material presence-just as dancers do. I want to suggest a rhetorical theory of the body in terms space, weight, and time and then to demonstrate how that theory might fruitfully inform our interpretation texts-not only literary texts like those Kundera or Dubus but also non-literary texts, such as journals, diaries, letters.1 The terms I am using come from Rudolf Laban, who developed a complex system movement analysis, a part which is called Effort/Shape. He worked first with ballet in Central Europe and later studied motion among British factory workers during World War II (efficiency studies). Many moder dancers have adopted his insights about movement and talk about space, weight, and time as characteristics choreography and their own bodies. They judge a good dance by its use space, weight, and time (these aren't the only criteria, course); they train their bodies first to understand its idiosyncratic preferences for using space, weight, and time and second to understand their bodies in relation to these three.

Mina Shaughnessy has long been revered as leader, even founder, of basic-writing movement, which emerged from open-admissions educational policies of egalitarian 1960s. Throughout 1970s, 80s, and 90s, most professionals in have accepted role of basic writing as defined by Shaughnessy in Errors and Expectations and as enacted in classrooms of City University of New York, where action of book took place. Indeed, Jeanne Gunner calls Shaughnessy's work the starting point of reference for these professionals (28); seldom does a discussion of basic writing not referand defer-to Shaughnessy.' In spite of almost universal acclaim for Shaughnessy, some articles about work have appeared with contradictory, even negative, visions: Paul Hunter describes Shaughnessy as radical for caring so much about and believing in students, most of whom were minorities; Min-Zhan Lu describes as conservative-and a gatekeeper and accommodationist-for wanting to acculturate them. And while no doubt both Hunter and Lu have captured truths about Shaughnessy, CCNY's Patricia Laurence argues that historical dimension is missing from many such analyses, that they set Shaughnessy adrift on educational raft-unmoored from [her] times, [her] institution, [her] field (880). In essay describing these intra-community conflict[s] (26), Gunner argues that literature about Shaughnessy can be categorized into two forms of discourse: iconic and critical. In iconic discourse Shaughnessy is invoked as a figure and symbol with meaning beyond identity as historic person (26). Time editor Stephen Koepp, in issue on heroes and icons, defines icon as an embodiment of ideal that affects way we live act, for better worse. Only possibility of or worse, in fact, really differentiates Koepp's icon from his hero-one who changes society for better by shatter[ing] a limitation convention (6). Certainly, iconic literature of basic writing invokes Shaughnessy as positive icon-as a hero. The imagery in eulogies describing Shaughnessy shortly after death set tone for this type of literature: Irving Howe spoke of the brightness of her (102); E. D. Hirsch, Jr., described how human influence radiated out (96); Adrienne Rich stressed way work illuminates (102).

346 RHETORICA Kennedy's standards. Still, Schiappa's book will help us continue this important conversation about rhetorical history, epistemology, and disciplinarity—a conversation that his work has been instrumental in fostering. Janet M. Atwill The University ofTennessee Anne W. Astell, Political Allegory in Late Medieval England (Ithaca: Cornell University Press, 1999), xii + 218 pp. New historicism has encouraged a generation of scholars to abandon the older critical tradition which believed that literary merit gave texts a value to which historical context was irrelevant. Believing that context illuminates aspects of writers' choices and presentations of their subjects, Anne W.Astell seeks to show that some of the best known vernacular writers, principally in Richard IPs reign—Chaucer and Gower, the anonymous author of Sir Gawain and the Green Knight—composed specific commentaries on contemporary events which an informed audience would recognise as critical analysis of political behaviour. Perhaps the best way to appreciate her purpose is to start with her conclusions where she summarised what she has attempted to argue. Earlier attempts to read vernacular medieval texts as verbally encoded in accordance with known contemporary rules of encryption, such as acrostics, were rejected by literary critics. Astell seeks to make a flexible interpretation of code words and allusions more acceptable by providing a framework of classical rhetorical rules from Cicero, Augustine and Boethius that were sufficiently well known and clearly used to serve as the scaffolding of their allegorical explanations. Some of the allusions on which she depends are individually weak, for the likeness of the king to the sun and the intercessory role of a queen consort were commonplaces—relevant not only to Richard and Anne's behaviour but to the expected behaviour of kings and queens throughout Europe—appropriated by the writers Reviews 347 only in the sense that they represented received ideas. She strengthens her case by the use of additional references. The counsel offered is traditional but as relevant to Richard as it would be to other monarchs in a society where men who were to him overmighty subjects saw him as little more than Primus inter pares. The extent to which the usual topoi of poems providing a "mirror for princes" is focused on the particular problems of Richard's reign would be assisted by a brief indication of the basic ideological divisions between the disputants and the precision with which the writers reflect these, which seems to vary from writer to writer. The evidence that Gower was already writing from a Lancastrian standpoint in the Confessio Amantis is comparatively straightforward. Ignoring the case for Richard's right to use his prerogative and presenting his supporters as scoundrels and treasonous by drawing a dubious comparison with a classical parallel is a familiar device used by skilled lawyers presenting a partisan case. Astell's interpretation of Chaucer's Monk's and Nun's Priest's tales starts with an argument that Richard sought consciously to emulate Edward the Confessor, and Edward II, whom he sought to have canonised as a martyr, one or both of whom were referred to "in passing" before the Monk goes on to a cautionary tale of the fall of princes, some of whom died as result of their tyranny and some because of their enemies' ambitions. The Confessor's position vis a vis the coronation ceremonies, however, is hardly peculiar to Richard's coronation and its precise relevance to the Pales is not made clear. The tale of Chauntecleer the cock, a fable included in most fabular compilations, can serve various didactic ends. It is here presented as a comedy of Richard's early years in which a man susceptible to flattery and bad advice (Richard) is able to learn from mistakes. The establishment of it as an identifiable account of the peasants' revolt is a difficult trail through other literary uses of animal embodiment. Such comparatively simple allegorical instructions are easier to accept than the complex allegory by which the beheading of the Green Knight is presented as a symbol of the execution of the earl of Arundel and the whole tale as an invitation to Richard to express penitence. To start with, it requires a date after 1397, while...

352 RHETORICA Jeanne Fahnestock, Rhetorical Figures in Science (New York: Oxford University Press, 1999), xiv + 234 pp. The title of this work well represents the focus of the book, but it fails to convey the breadth of content it contains. Jeanne Fahnestock's book displays a range of erudition not only in the history of science but in the history of rhetoric as well. Unlike other studies that have treated the use of metaphors and analogy in scientific literature, this one reveals the work of some little marked but ubiquitous figures of speech in many classic and modem texts in science. Fahnestock's aim, however, is not just to show the way in which these figures have influenced the turn of scientific thought, or have structured its expression, but she seeks to illuminate the nature of rhetorical figures themselves. The book claims that certain figures are actually condensed lines of argument and that they appear in all kinds of discourse. She selects for close study five figures of particular importance to scientific reasoning: antithesis, gradatio, incrementum, antimetabole, ploche, and poliptoton. These are looked at systematically, with historical accounts and illustrations of each, followed by well-developed examples of their use in a coherent topical, not chronological, order. Throughout the work Fahnestock has also included visual representations that bear witness to the structural figuration behind them. The first chapter of the book alone, "The Figures as Epitomes", should prove invaluable to historians and teachers of rhetoric and literature. Fahnestock first clarifies the confusing categories of tropes, schemes, figures of diction and thought. Next she examines leading theories of figuration: figures are departures from "normal" or "typical" word use; figures ornament or embellish, adding emotion, force, charm. Figures may do all of these things, she says, but essentially they are composites a "formal embodiment of certain ideational or persuasive functions" (p. 23). She defines them as "an identifiable convergence, felicity, or synergy of form and content" (p. 38). As such the most useful approach to the figures is to look at their function. Accordingly, she examines the function of the figures mentioned above to condense or epitomize lines of argument. The key to the figural epitome lies in the topics, Reviews 353 lines of argument best described in Aristotle's Topics and Rhetoric, which he identified as common ways of reasoning. In the second chapter on antithesis, a figure based on the topic of opposites, the author explores a variety of scientific examples, including Bacon's tables of absence and presence and Darwin's examination of emotion in man and animals. The figures of series incrementum and gradatio, described in the third chapter, she explains as products of the dialectical topic of property when considered from the standpoint of the more and the less and similarities. In the scientific illustrations for the chapter, the figures are shown to be constitutive of both thought and expression. The author suggests a continuity between the rhetorical series and mathematical series, illustrating this with Newton's discussion of motion and later theories in astronomy. The subject of chapter four, antimetabole, another figure which epitomizes arguments from property, displays repeated terms in two cola, the second of which reverses the grammatical and syntactic order of the first ("Ask not what your country can do for you, but what you can do for your country"). Although this figure has not been consistently stressed in stylistic discussions over the years, Fahnestock sees it as having given scientists an especially fertile tactic of conceptual reversal. Newton in mechanics, Farraday and Joseph Henry in electromagnetism, Lamarck and Lewontin in theories of evolution, all furnish examples of the figure's usefulness. The final chapter on ploche and poliptoton introduces figures of repetition, probably unfamiliar to most readers. Pioche, described as "perfect repetition", is a word woven into a discourse in the same, or at times, in a different, sense. The second figure, polyptoton, appearing in highly inflected languages more frequently than in English, repeats a word but does so in a different grammatical case. In a dazzling account of the history of writings on electricity, the author documents the grammatical shifts that occur as experimenters begin to understand its nature. First a...

Readings in Information Visualization: Using Vision to Think. Ed. Stuart K. Card, Jock D. Mackinlay, and Ben Shneiderman. San Francisco: Morgan Kaufmann, 1999. 712 pp. Information Design. Ed. Robert Jacobson. Cambridge, MA: MIT P, 1999. 357 pp. Information Architects. Ed. Peter Bradford. Introduction by Richard Saul Wurman. New York: Graphis, 1997. 235 pp. Visual Language: Global Communication for the 21st Century. Robert E. Horn. Bainbridge Island, WA: MacroVU, 1998. 270 pp. Digital Sensations: Space, Identity, and Embodiment in Virtual Reality. Ken Hillis. Minneapolis: U of Minnesota P, 1999. 271 pp.

Raises questions about the representability of the trauma of rape and the purposes of its representation. Focuses on how the strategic enactment of a culturally dominant rape script can potentially open up a gap within which that script can be contested and the act of rape or death resisted. Discusses pedagogical challenges of teaching the literature of trauma and survival.

Presents a methodology based on the concept of “material rhetoric” that can help scholars avoid problems as they reclaim women’s historical texts. Defines material rhetoric and positions it theoretically in relation to other methodologies, including bibliographical studies, reception theory, and established feminist methodologies. Illustrates feminist use of material rhetoric through a study of “The Account of Hester Ann Rogers.”

The history of literary societies in academia has been little studied. The few discussions of the societies have centered primarily around eastern universities and have marked the societies' decline as coming in the mid-to-late 1800s. However, the literary societies survived at many Midwestern colleges, both public and private, for several decades into the twentieth century. The societies embody rhetoric-in-practice and are interesting in terms of their social structure, their intellectual activities, and what they tell us about the position of rhetoric in the late nineteenth and early twentieth centuries. Their eventual decline is brought about by a number of forces, some predictable and some not. Academic literary societies, which existed in strength in the Midwest from about 1830 to 1920, centered around the writing and performance of essays, debates, orations, and sometimes poetry. Over time, some of the groups expanded their activities into performances of music and dramas, with these elements sometimes overtaking the rhetorical aspects. As has been noted elsewhere, the societies declined with the coming of fraternities and sororities, the blossoming of disciplinary clubs, the general lack of interest in rhetoric, and the influx of students seeking a public education. Other less-examined factors include the extent of institutional support, the strength of rhetoric in the

From its origins in ancient Greece, Western rhetoric has been embodied in city life. Save for his walk with Phaedrus, Plato's Socrates only practiced his dialectical rhetoric within the walls of Athens and then only for the ennoblement of the republic. So in the Apology, Socrates defends one version of life in the city against another, explaining that in his talk with others, he had been trying to persuade each of you not to have a greater concern for anything you have than for yourselves, that each of you may be the best and wisest person possible, nor to consider the affairs of the city in preference to the well-being of the city itself' (36c5-9; trans. in Kennedy 44). For Plato the one best hope for Athens was embodied in cultivating the character of its citizens. Cultivation of self and the well-being of the city were so closely linked, a link so prominent in classical rhetoric, that Cicero could monumentalize rhetoric's civic dimensions through the figure of the orator's open hand: a gesture of conciliation and cooperation, of civic responsibility and democratic possibility. The open hand of the Ciceronian orator still has hold of imaginations, embodying hopes of communitarianism, democracy, and mutuality. Thomas Farrell, for example, has explained rhetoric's open-handedness as our partisanship for the familiar and, from within the world of the local and particular, movement toward the other (279). Ideally we would always approach others with outstretched arms and open hands. Yet open-handedness no longer embodies the rhetorical activities, perspectives, and values of persons who share life in cities. In the United States, material conditions and mass media representations of postindustrial urban space, as well as expressions of difference, questions of identity, and conflicts over multiculturalism, have overwhelmed the figure's resonance. Suburban sprawl, the proliferation of privatized consumer spaces, and the fortification of inner cities materialize inequalities that empty the open-handed appeal of its genuineness; at the same time, mass media representations of urban spaces as dangerous, decaying, and violent fuel suspicion and caution people against open-handed appeal. Informed by the material and representational realities of cities, the global sameness and commonalty suggested by the open-handed gesture become expressions of a

T his paper deals with the embodiment in Cicero's De Oratore of a particular rhetorical method. The method is referred to by the Romans as controversia and by the Sophists before them as antilogic and involves the conduct of argument by placing two or more opposing claims in juxtaposition. I will argue that instead of discussing controversia in a formal manner, by abstracting its general nature and detailing its logical parts (diaeresis), Cicero chooses to dramatize controversia in order to transcend abstract principles and allow his students direct access to argument in action. In a word, Cicero chooses to perform the subject, and in so doing to give substance or body to theory and pedagogy. In the process, he also pursues his own most cherished philosophical objective, which is to bring res and verba, the thing and the word into synthesis. I will further suggest that the rhetoric of embodiment which Cicero develops in De Oratore is replete with interesting pedagogical implications. Like much of Cicero's published work, De Oratore was intended to serve as a model for imitation by others (see Axer 59). In this case, the text models both a particular set of rhetorical principles and a distinctive pedagogical stance for teaching them. I am particularly interested in what the pedagogy of De Oratore has to say to us today about an appropriate approach to the teaching of argumentation.' But before I begin with Cicero, De Oratore, antilogic, controversia, and the rhetoric of embodiment, I would go back even further in history, from Rome to the eastern Mediterranean, from the eloquence of Cicero to the arguments of Odysseus, that other man famous for dealing with contention (Odyssey 1.2). You will recall that when Odysseus leaves Calypso after seven years as a captive on her paradisal island, he sails away on a log raft which breaks up in a large storm sent by Poseidon. When it looks as though he is doomed to drown, he laments that all he has accomplished on his way home will perish with him. Would that I had died on the fields of Troy, he cries, where all my deeds would have been noted, praised, and preserved (5.306-12). What Odysseus is concerned with here is his kleos: his fame, honor, stature, renown, that standard heroic obsession that one's reputation will ring out under heaven (8.74f; cf. Thalmann 60-69). Instead of a life of adventure marked by kleos, however, Odysseus in Book V is faced with death at sea, a death unmarked and lonely (5.312). What is notable for us in this episode is that kleos appears only to exist in the reports on one's life; i.e. it requires discourse to give it substance, enough substance to transcend the event itself. Consequently, when Odysseus arrives on land and is taken by Nausikaa to the Phaiakian court, he acts the part of a poet as well as a hero (11.68-69) by recounting his adventures and in the process giving form to his kleos. Discursive enactment, therefore, becomes the only way in which the unforgettable experi-

Examines the pedagogy of African-American elocutionist Hallie Quinn Brown (1845–1949), professor of elocution at Wilberforce University from 1893 to 1923, as it addresses pedagogical issues still important today, such as how rhetorical instruction should address the needs of those who have a different linguistic heritage and culture.

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This essay reappraises conventional distinctions between oral-like and literate-like discourse, particularly Tannen's (1985) distinction between involvement focus and message focus. Rather than seeing message in tension with involvement, this query treats message as an embodiment of involvement. Cohesion particularly is treated as an aspect of a developing writer-reader relationship, an outgrowth of a thickening commitment to a mutual orientation. Speculations are offered for rethinking what is called “literate orientation.”

Few will disagree, I think, if I say that twentieth-century discussion of the lyric has often granted little recognition, and sometimes none, to the role of argumentation. Indeed, the word itself may not appear at all: we are much more likely to be told, instead, that lyric poems contain-and we should emphasize the word contain--such things as subjects, ideas, themes, or even conceptual schemes, and we are just as likely to be told that none of these things are what the lyric is really all about. Such things belong to prose, and in the lyric are merely there, contained, as useful but dispensable accessories and props; the lyric dramatizes or expresses feeling. Or rather, it bodies forth image of the poet's thought as it moves through some phase or phases of an intensely felt experience (Hardy 1-2). It is essentially dramatistic or expressive, rather than, say, discursive, argumentative, or suasory-no matter how much, in the reader's experience, it may seem to operate discursively, as an argument intending to create, intensify, or change belief. The feeling's the thing. Or so that argument goes, or has gone. This is the average mainstreammodern view of lyric, the view most likely to be taken as a self-evident given in a typical account of this most protean mode of poetry. (Barbara Hardy, for example, is able to simply declare it, as an opening premise for her book, with virtually no recognition of a possible disagreement.) I believe that few will disagree, either, if I say that strong objections to this mainstream-modern version of the lyric are and have been available. We can argue, as did Yvor Winters, that lyric poetry, or any poetry, intends not only representation or embodiment of an or state of but also judgment or evaluation of human experience, and thus is necessarily suasory and involved with argumentation, or what Winters called exposition. Or we can argue, as Gerald Graff has done, that the logos and the pathos projected by a poem are necessarily related, as premise(s) and conclusion(s), what Graff calls ground and consequent: the ground provided by what is said, by logos, makes the speaker's represented state of feeling or act of mind both convincing and intelligible-as opposed, say, to self-indulgent, incoherent, and neurotic. Graff's line of objection, then, defines the lyric once more as a form of argument. We

In his critical writing Kenneth Burke approaches texts as for dealing with situations.I In terms of his dramatistic pentad, each text may be seen as an or strategy which responds to a given scene or situation (GM, p. xv). His approach that a [text's] structure is to be described most accurately by thinking always of the [text's] function. It assumes that the [text] is designed to 'do something' for the [writer] and his readers, and that we can make the most relevant observations about its design by considering the [text] as the embodiment of this act (PLF, p. 89). But Burke's own texts have rarely been approached with Burke's critical methods. Few have been seen as strategies that respond to particular historical-cultural situations. Yet is is clear from Counterstatement (1931) through Language as Symbolic Action (1966) that Burke's texts name and strategically respond to particular historical-cultural situations. In A Rhetoric of Motives (1950) the situation so named is one dominated by language and thought which privilege the economic forces of production (RM, p. 290) and the scientific ideals of an 'impersonal' terminology (RM, p. 32). Burke's pentad clusters these emphases in modern thought and language under the term scene; that is, all favor motivational explanations based in the scene. Thus in A Rhetoric of Motives the scene Burke addresses, the situation he names, is one which emphasizes the scenic. Burke's strategic response to this situation is to restore an emphasis on act: substance, in the old philosophy, was an act; and a way of life is an acting together (RM, p. 21). In A Rhetoric of Motives Burke aims to change the reader's central emphasis from scene to act. Yet, while intending this emphasis, Burke in his writing is also aware of a tendency to slight the term, act, in the very featuring of it. For we may even favor it enough to select it as our point of departure (point of departure in the sense of an ancestral term from which all the others are derived, sharing its quality 'substantially'); but by the same token it may come to be a point of departure in the sense of the term that is 'left behind' (GM, p. 65). Burke acknowledges the difficulty of writing against his times-against the prevailing