Gender and Rhetorical Space in American Life, 1866–1910 by Nan Johnson Carbondale: SIU Press, 2002. 220 pp. Rhetoric In The Middle Ages And Three Medieval Rhetorical Arts By James J. Murphy. Rhetoric in the Middle Ages: A History of Rhetorical Theory from Saint Augustine to the Renaissance. 1974. “Foreword to the Reprint”; Jody Enders. Bibliography, not credited. MRTS Reprint Series, No. 4. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2001. xii + 399 pp. Three Medieval Rhetorical Arts by James J. Murphy. 1971. MRTS Reprint Series, No. 5. Tempe, AZ: Arizona Center for Medieval and Renaissance Studies, 2001. xxiii + 236 pp.

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Marjorie Roemer, Lucille M. Schultz, Russel K. Durst, Reframing the Great Debate on First-Year Writing, College Composition and Communication, Vol. 50, No. 3, A Usable Past: CCC at 50: Part 1 (Feb., 1999), pp. 377-392

Rhetoric and Human Consciousness: A History by Craig R. Smith. Prospect Heights, Illinois: Waveland, 1998; 456 pp. The Formation of College English: Rhetoric and Belles Lettres in the British Cultural Provinces by Thomas P. Miller. Pittsburgh: University of Pittsburgh Press, 1997. 344 pp. Composition‐Rhetoric by Robert J. Connors. Pittsburgh: University of Pittsburgh Press, 1997. 374 pp. Political Style: The Artistry of Power by Robert Hariman. University of Chicago Press (1995): xii+259 pp. Rhetoric in an Antifoundational World: Language, Culture, and Pedagogy, ed. Michael Bernard‐Donals and Richard R. Glejzer. New Haven: Yale University Press, 1998. 468 pp.

(1995). Pestalozzi's Mark on nineteenth‐century composition instruction: Ideas not in words, but in things. Rhetoric Review: Vol. 14, No. 1, pp. 23-43.

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This study analyzed the persuasive essays of high school juniors and seniors to determine the specific rhetorical and linguistic features that contributed to raters' holistic judgments about the overall quality of the essays. Essays written by a random sample of an ethnically, socially, and economically diverse population of high school writers were analyzed using an array of rhetorical and linguistic measures: overall quality, use of a five-paragraph structure, coherence, three types of persuasive appeals, and sentence-level errors. The relationships between the variables and the holistic scores were examined using a correlation analysis. A forward stepwise regression analysis was also used to estimate the amount of variance contributed by each variable. Results indicate that use of logical appeals, five-paragraph structure, coherence, and number of words were strongly correlated with the overall quality ratings.

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You don t know what it is, wrote Flaubert, to stay a whole day with your head in your hands trying to squeeze your unfortunate brain so as to find a word. Writer s block is more than a mere matter of discomfort and missed deadlines; sustained experiences of writer s block may influence career choices. Writers in the business world, professional writers, and students all have known this most common and least studied dysfunction of the composition process. Rose, however, sees it as a limitable problem that can be precisely analyzed and remedied through instruction and tutorial programs. Rose defines writer s block as an inability to begin or continue writing for reasons other than a lack of skill or commitment, which is measured by passage of time with limited functional/ productive involvement in the writing task. He applies the information processing models of cognitive psychology to reveal dimensions of the problem never before examined.In his three-faceted approach, Rose develops and administers a questionnaire to identify blockers and nonblockers; through simulated recall, he selects and examines writers experiencing both high and low degrees of blocking; and he proposes a cognitive conceptualization of writer s block and of the composition process.In drawing up his model, Rose delineates many cognitive errors that cause blocking, such as inflexible or conflicting planning strategies. He also discusses the practice and strategies that promote effective composition.