This essay examines style as a vehicle for performance: Patterns of language are rituals of language that participate in broader social rituals and behaviors. It then turns to recent debates over academic prose, focusing on Judith Butler who claims that radical thought demands radical forms of expression. In the case of her own writing, however, her style isn't radical. Instead, it's conservative in form, a souped-up version of technobureaucratic writing. The essay ends with an analysis of Butler's "Burning Acts, Injurious Speech" and argues that while it does fulfill one of the aesthetic goals Butler has outlined elsewhere, the stylistic performance it delivers is like that of a shaman, hovering ambiguously between mysticism and trickery.

Abstract All but ignored by historians of rhetoric, Quintilian ‘s meditations on improvisation not only allow us to situate the Institutio Oratoria more firmly in its historical context but also require us to confront issues of performance, issues which (again) have been largely overlooked in historical studies of rhetoric. Quintilian's many references to extemporaneous speech participate in a broader argument the author advances against what he sees as the unscrupulous activities of the delatores (informers working in the service of the Emperors) and the theory of oratory implicit in their oratorical practices. In particular, Quintilian uses the topic of improvisation as an argumentative vehicle to reject the dependence of the delatores on natural ability, to parody their artless attempts at extemporization, and to promote his own educational program based on study, training, and art. Quintilian's discussion of improvisation also invites consideration of oratorical performance: the occasions upon which an orator should switch from a scripted to an improvised mode of performance, the psychological and affective experience of the orator who speaks extemporaneously, and the response of listeners who (according to Quintilian) regard the extemporized oration as more credible, more engaging, and more authentic than the one prepared in advance. For Quintilian, improvisation is the mode of performance to which all oratory should aspire.