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Matthew Craske looks closely at tomb sculptures in their social context. He discusses a large number of monuments by many different sculptors, all with a knowledge of the person commemorated and the circumstances behind the commission.
This persuasive book analyses the complex, often violent connections between body and voice in Ovid's Metamorphoses and narrative, lyric and dramatic works by Petrarch, Marston and Shakespeare. Lynn Enterline describes the foundational yet often disruptive force that Ovidian rhetoric exerts on early modern poetry, particularly on representations of the self, the body and erotic life. Paying close attention to the trope of the female voice in the Metamorphoses, as well as early modern attempts at transgendered ventriloquism that are indebted to Ovid's work, she argues that Ovid's rhetoric of the body profoundly challenges Renaissance representations of authorship as well as conceptions about the difference between male and female experience. This vividly original book makes a vital contribution to the study of Ovid's presence in Renaissance literature.
A fundamental reappraisal of Plutarch’s attitude towards rhetoric. Plutarch was not only a skilled writer, but also lived during the Second Sophistic, a period of cultural renaissance. This book offers new insights into Plutarch’s seemingly moderate attitude towards rhetoric. The hypothesis explored in this study introduces, for the first time, the broader literary and cultural contexts that influenced and restricted the scope of Plutarch’s message. When these contexts are considered, a new perspective emerges that differs from that found in earlier studies. It paints a picture of a philosopher who may not regard rhetoric as a lesser means of persuasion, but who faces challenges in openly articulating this stance in his public discourse.
Rhetoric at the Non-Substantialistic Turn: The East-West Coin presents a unique theory of rhetoric that encompasses both Eastern and Western approaches. Based on the Field-Being philosophy founded by Lik Kuen Tong, this theory gives an account of the ontological foundations of both kinds of rhetoric. Beginning with an exposition of the nature of Field-Being rhetoric as Eastern and Western, this book presents chapters on Eastern and Western rhetoric over history as power, ethics, art, creativity, politics, and communication. It acknowledges the thinking of many philosophers and rhetoricians who have contributed to East-West comparative studies in both fields and argues that both understandings of rhetoric are necessary for global communication.
Martin Folkes (1690-1754): Newtonian, Antiquary, Connoisseur is a cultural and intellectual biography of the only President of both the Royal Society and the Society of Antiquaries. Sir Isaac Newton's protégé, astronomer, mathematician, freemason, art connoisseur, Voltaire's friend and Hogarth's patron, his was an intellectually vibrant world. Folkes was possibly the best-connected natural philosopher and antiquary of his age, an epitome of Enlightenment sociability, and yet he was a surprisingly neglected figure, the long shadow of Newton eclipsing his brilliant disciple. A complex figure, Folkes edited Newton's posthumous works in biblical chronology, yet was a religious skeptic and one of the first members of the gentry to marry an actress. His interests were multidisciplinary, from his authorship of the first complete history of the English coinage, to works concerning ancient architecture, statistical probability, and astronomy. Rich archival material, including Folkes's travel diary, correspondence, and his library and art collections permit reconstruction through Folkes's eyes of what it was like to be a collector and patron, a Masonic freethinker, and antiquarian and virtuoso in the days before 'science' became sub-specialised. Folkes's virtuosic sensibility and possible role in the unification of the Society of Antiquaries and the Royal Society tells against the historiographical assumption that this was the age in which the 'two cultures' of the humanities and sciences split apart, never to be reunited. In Georgian England, antiquarianism and 'science' were considered largely part of the same endeavour.
Liminal Bodies, Reproductive Health, and Feminist Rhetoric posits rhetoric and gynecology as sister discourses. While rhetoric has been historically concerned with the regulation of the productive male body, gynecology has been concerned with the discipline of the female reproductive body. Lydia M. McDermott examines these sister discourses by tracing key narrative moments in the development of thought about sexed bodies and about rhetorical discourse, from classical myth and natural philosophy to the eighteenth- and nineteenth-century decline of midwifery and the rise of scientific writing on the reproductive body. Liminal Bodies offers a metaphorical method of invention and criticism, “sonogram,” that emphasizes the voices and bodies that have been left on the margins of the dominant histories of rhetoric.
Introduces new scholars to interdisciplinary research by utilizing bibliographical surveys of both primary and secondary works that address the history of rhetoric, from the Classical period to the 21st century.
Sheds new light on the memoir boom by asking: Is the genre basically about disability?
In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself. Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses. Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as "all the President's women," including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups--Navajo, Apache, Hopi, and Pueblo--and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power. Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers.
Death and the Body in the Eighteenth-Century Novel demonstrates that archives continually speak to the period's rising funeral and mourning culture, as well as the increasing commodification of death and mourning typically associated with nineteenth-century practices. Drawing on a variety of historical discourses--such as wills, undertaking histories, medical treatises and textbooks, anatomical studies, philosophical treatises, and religious tracts and sermons--the book contributes to a fuller understanding of the history of death in the Enlightenment and its narrative transformation. Death and the Body in the Eighteenth-Century Novel not only offers new insights about the effect of a growing secularization and commodification of death on the culture and its productions, but also fills critical gaps in the history of death, using narrative as a distinct literary marker. As anatomists dissected, undertakers preserved, jewelers encased, and artists figured the corpse, so too the novelist portrayed bodily artifacts. Why are these morbid forms of materiality entombed in the novel? Jolene Zigarovich addresses this complex question by claiming that the body itself--its parts, or its preserved representation--functioned as secular memento, suggesting that preserved remains became symbols of individuality and subjectivity. To support the conception that in this period notions of self and knowing center upon theories of the tactile and material, the chapters are organized around sensory conceptions and bodily materials such as touch, preserved flesh, bowel, heart, wax, hair, and bone. Including numerous visual examples, the book also argues that the relic represents the slippage between corpse and treasure, sentimentality and materialism, and corporeal fetish and aesthetic accessory. Zigarovich's analysis compels us to reassess the eighteenth-century response to and representation of the dead and dead-like body, and its material purpose and use in fiction. In a broader framework, Death and the Body in the Eighteenth-Century Novel also narrates a history of the novel that speaks to the cultural formation of modern individualism.