Though it has been insufficiently noticed, Kenneth Burke spoke at the first meeting of the Conference on College Composition and Communication in Chicago on March 25, 1950. Archival sources reveal that his remarks—“Rhetoric—Old and New”—drew from his recently completed A Rhetoric of Motives and from another volume, The War of Words, that he intended to publish separately. Burke sought to restore instruction in rhetoric to composition courses, explained his newly developed concept of “identification,” and later saw the published version of his remarks mysteriously missing from the first issue of College Composition and Communication.

Abstract Burke's famous performance at the First American Writers’ Congress in 1935 should be understood in relation to its occasion. The Congress was held to enlist the services of writers in creating a broad Popular Front, or People's Front, to encourage social change, so Burke's recommendation that “the people”; ought to be substituted for “the worker”; in Communist Party symbolism—that “propaganda by inclusion”; ought to succeed “propaganda by exclusion “—was actually in moderate keeping with the Congress’ broad aim. Though his recommendation was resisted by some, Burke was actually not so much marginalized by the Congress as identified with its controversies.

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Encyclopedia of Rhetoric and Composition: Communication from Ancient Times to the Information Age, ed. Theresa Enos. Garland: New York and London, 1996; xxiv; 803. Audience and Rhetoric: An Archeological Composition of the Discourse Community by James E. Porter. Englewood Cliffs, New Jersey: Prentice‐Hall, 1992; 6 +185 pages. Writing the Speech by William E. Wiethoff. Greenwood, Indiana: The Educational Video Group, 1994; xi; 217.

It is no overstatement to claim that Kenneth Burke was weaned on modernism, that indeed he was a pivotal figure among the remarkable moderns who gathered in Greenwich Village in the years just before and after World War I. Yet the observation bears repeating nonetheless. Born in 1897 in Pittsburgh and educated there through high school, Burke moved with his parents in 1915 to an apartment in Weehawken, New Jersey, just across the Hudson River from 42nd Street in New York City. Though he studied at Ohio State during the spring semester of 1916 (with his thoroughly modernist friend James Light) and though he commuted from Weehawken to Columbia University throughout 1917, Burke gradually determined to take his instruction from Greenwich Village rather than from the university; having insinuated himself into the literary and intellectual scene, he moved to Greenwich Village early in 1918. There he met, associated with, befriended, and/or worked with a host of Village writers, artists, and critics, including (to mention only the ones that seem most prominent today) William Carlos Williams, Malcolm Cowley, Hart Crane, Marianne Moore, Eugene O'Neill, Alfred Stieglitz, Georgia O'Keeffe, Van Wyck Brooks, Edmund Wilson, Allen Tate, Jean Toomer, and Katherine Anne Porter. Burke was on hand for the most experimental and successful period of the Provincetown Players, and he followed political and artistic developments in The Masses. While spending much of his time after 1922 writing, reading, editing, and translating at his Andover, New Jersey farm, Burke remained very much a physical and verbal presence in the Greenwich Village modernist scene, contributing poetry, fiction, criticism, and translations to modernist magazines. As an editorial assistant at The Dial, the most prominent such magazine of the era, he provided editorial services on behalf of Williams, Crane, Ezra Pound, Thomas Mann, T. S. Eliot, Arthur Schnitzler, and Wallace Stevens. And he maintained his social and artis

These notes are my recollections of a trip to see Kenneth Burke on February 19, 1993, in Andover, New Jersey, where Burke has lived for more than 70 years. The visitors were Jack Selzer, who is studying Burke's early work; Charles Mann, a longtime friend of Burke and curator of the Rare Books Room at Penn State's Pattee Library, where a substantial collection of Burke papers is housed; and Rosa Eberly, a graduate student in rhetoric at Penn State. The visitees: Burke and his friend and housekeeper, Ginnie.

Best Collection of Essays, NCTE Awards for Excellence in Technical and Scientific Communication.Effective a major sourcebook that offers technical writers, editors, teachers, and students of technical communication a wide variety of practical guidelines based on often hard to find research in the usability of printed and electronic media.The book's eighteen chapters provide a wealth of material on such topics of current interest as the writing of design manuals, research in cognitive psychology as applied to the design of user manuals, and the organizing of manuals for hierarchical software systems. Included are chapters by such well known scholars in the field as Philip Rubens, Robert Krull, Judith Ramey, and John Carroll.Effective reviews the advice offered by other to produce usable documentation books, describing the different types of usability research and explaining the inherent biases of each type. It goes beyond the actual design of textual and/or electronic media to look at these designs in context, giving advice on effective management (good management is a requisite of good writing), on the relationship between document design and product design, and on how to find out who one's readers really are. Advances in the presentation of textual information are explained, with suggestions on how to improve the usability of individual sentences and the design of entire books.The concluding chapters discuss advances in the design and use of online information and offer valuable insights into the use of graphic information and the development and design of information communicated via electronic media.Stephen Doheny Farina is Assistant Professor of Technical Communication at Clarkson University. Effective Documentation is included in the Information Systems series, edited by Michael Lesk.

Is “the writer's audience always a fiction,” as Walter Ong contends, even when the writing is not poetry or fiction but scientific prose? To demonstrate the usefulness of Ong's approach to audience for analysts of nonfiction prose and for those who wish to empower student writers, we consider from a reader-response perspective two scientific articles on the same general topic written for the same discourse community in the same year. The authors of the two essays (prestigious scientists) directed their readers into two radically different roles. One makes his readers not only into “conventional” scientists but into willing novices who take note of his presentation but who do not take issue with it; the other creates disciplinary nonconformists, inquistive skeptics who have the perspectives necessary to understand the limits of scientific thought. The analysis elaborates the rhetorical nature of scientific discourse, demonstrates that even within the constraints of the journal article scientists have considerable freedom to exercise choices, and explicates how writers use cues to direct readers into fictional roles.

Michael Paul Rogin, "Ronald Reagan,”; the Movie and Other Episodes in Political Demonology (Berkeley, CA: University of California Press, 1987), 366pp. Jeffrey K. Tulis, The Rhetorical Presidency (Princeton, NJ: Princeton University Press, 1987), 209pp. Gerald Graff. Professing Literature: An Institutional History. University of Chicago Press, 1987. viii+315 pp. $24.95. Joseph Vining, The Authoritative and the Authoritarian, University of Chicago Press, 1986. In Search of Justice: The Indiana Tradition in Speech Communication. Richard J. Jensen and John C. Hammerback (editors). Amsterdam: Editions Rodopi, 1987. 311 Pp. Greek Rhetorical Origins of Christian Faith: An Inquiry. James L. Kinneavy. New York and Oxford: Oxford University Press, 1987. Pp. ix + 186. Literary Patronage in Greece and Rome. Barbara K. Gold. Chapel Hill and London: The University of North Carolina Press, 1987. Pp. xii + 267. Introduction to Rhetorical Theory. Gerard A. Hauser. New York: Harper and Row, 1986. The Variables of Composition: Process and Product in a Business Setting. Glen J. Broadhead and Richard C. Freed. Carbondale: Southern Illinois University Press, 1986. 169 Pp.

James L. Kinneavy, William McCleary, and Neil Nakadate. Writing in the Liberal Arts Tradition: A Rhetoric with Readings. Harper & Row, 1985. Pp. xvii + 395. Cloth. Instructor's manual. Marian M. Mohr, Revision: The Rhythm of Meaning. Boynton/Cook, 1984. 248 pages. Lynn Z. Bloom, Fact and Artifact: Writing Nonfiction. Harcourt, Brace, Jovanovich, 1985. 337 pages. Research in Composition and Rhetoric: A Bibliographic Sourcebook. Ed. Michael G. Moran and Ronald F. Lunsford. Greenwood Press, 1984. 506 pages.

To determine how certain cohesion elements - the given-new contract, pronouns, synonyms, and topic sentences – affect the readability of technical paragraphs, six alternative paragraphs were composed, two “models” and four others carefully varied to feature the four factors under consideration. Then each passage was tested for its readability when subjects were administered a cloze procedure and a recall exercise for each paragraph. The results show that violations of the given-new contract make technical paragraphs more difficult to read; that changing repeated words to pronouns makes passages more difficult to follow; that using synonyms (instead of repetitions) makes prose harder to read; and that deleting a topic sentence may impede a reader's comprehension. Writing teachers, then, might consider these results when they direct students in the production of connected discourse. And researchers might use this methodology to investigate other influences on the readability of connected discourse.

Because of doubts about the status of paragraphs after World War II and the influence of readability formulas which emphasize sentence length and word length, technical writing teachers and texts have not been concerned very much with stylistic matters, especially at the paragraph level. However, recent research advances in the fields of linguistics, discourse analysis, cognitive psychology, and readability all redirect our attention to matters beyond the sentence in technical writing. A familiarity with such advances—including an understanding of cohesion elements, the “given-new contract,” and tagmemics—can enable technical writing instructors to improve student writing.