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Rhetoric has been broadly defined as the art of persuasion. Unfortunately, in the last two centuries, rhetoric has suffered a rather bad reputation because it has been deliberately overused to mislead and manipulate. However, the present argument claims that rhetoric is, above all, a method for creation, considering it as the study of the general relationships of unexpectedness for invention and persuasion. Since rhetoric was established in the early fifth century, it has been concerned almost solely with language, public speaking, and literature. The term "figure" (such as metaphor, antithesis, metonymy, among many others) refers to any device or pattern of language in which meaning or form is enhanced or changed. This study extrapolates to architecture and visual arts, what rhetoric does, which is not more than to put "things" together that have not been put together before, to create a new whole. Through the analysis of a large and heterogeneous group of art and architectural examples, this research constitutes a "proto-manual" of more than a hundred rhetorical tools and means by which architecture might be thought of, created, explained, and communicated. It reveals a particular methodology for the creation and communication of architecture and other visual disciplines beyond intuition and magic inspiration. This study attempts to explore the practical possibilities of application of rhetorical methods rather than to elaborate a comprehensive theory of rhetoric in the visual realm. Investigating the relationships among form, event, body, subject, matter and/or space, the study reflects on the spatial and social conventions, contradictions, and dislocations found in contemporary "everyday" life. Rhetorical figures are used as interrogative and critical tools to stimulate our social conscience and also to assist spectators' awareness of the challenges of our society.
African American Women's Rhetoric: The Search for Dignity, Personhood, and Honor deals with the rhetoric of African American women from enslavement to current times, examining slave narratives and contemporary print, music, and other media surrounding the lives of African American women. Covering a variety of specific women and their rhetoric within the context of a historical period, the book provides central themes and strategic and social concerns of African American women and their environment. It frames, in some, cases, the rhetoric of contemporary women in politics and other fields of prominence_including Condoleeza Rice and Barbara Lee, among others. Deborah F. Atwater explores how African women today who engage in speech in the public sphere come from a historical line of active women who have been outspoken in politics, education, business, and various social contexts; heretofore, these women have not been studied in a comprehensive manner. Specifically, how do these African American women discuss themselves, and_more importantly_how do they represent who they are in various communities? How do these women persuade their diverse audiences to value what they say and who they are?African American Women's Rhetoric will be an invaluable contribution to upper-division undergraduate and graduate courses in Rhetoric, African American Rhetoric, History, and Women's Studies.
"An outstanding book, one of the most intelligent, penetrating, and intellectually rigorous studies of pictorial theory in the literature of art history."--Michael Fried, author of Absorption and Theatricality: Painting and the Beholder in the Age of Diderot "Jacqeline Lichtenstein's groundbreaking contribution to intellectual history reconstructs the history of the age-old debate between philosophy and rhetoric, discourse and images, drawing and color, truth and delight. She shows how, in opposition to the Platonic suspicion of eloquence and colour, 17th-century French aesthetics discovers that painting involves deception more than imitation and delight rather than logic. Impressively erudite, Lichtenstein is also a seductive writer. A book about the pleasure of seeing and the pleasure of reading."--Thomas Pavel, author of The Feud of Language: A History of Structuralist Thought
Winner of the 2016 CCCC Advancement of Knowledge Award and the 2016 CCCC Research Impact Award In Still Life with Rhetoric, Laurie Gries forges connections among new materialism, actor network theory, and rhetoric to explore how images become rhetorically active in a digitally networked, global environment. Rather than study how an already-materialized “visual text” functions within a specific context, Gries investigates how images often circulate and transform across media, genre, and location at viral rates. A four-part case study of Shepard Fairey’s now iconic Obama Hope image elucidates how images reassemble collective life as they actualize in different versions, enter into various relations, and spark a firework of activity across the globe. While intent on tracking the rhetorical life of a single, multiple image, Still Life with Rhetoric is most concerned with studying rhetoric in motion. To account for an image’s widespread circulation and emergent activities, Gries introduces iconographic tracking—a digital research method for tracing an image’s divergent rhetorical becomings. Yet Gries also articulates a dynamic set of theoretical principles for studying rhetoric as a distributed, generative, and unforeseeable event that is applicable beyond the study of visual rhetoric. With an eye toward futurity—the strands of time beyond a thing’s initial moment of production and delivery—Still Life with Rhetoric intends to be taken up by those interested in visual rhetoric, research methods, and theory.
Follows the threads of ancient rhetorical theory into the Middle Ages and examines the distinctly Medieval rhetorical genres of perceptive grammar, letter-writing, and preaching. These various forms are compared with one another and placed in the context of Medieval society. Covering the period 426 A.D. to 14.
First published in 1553, Wilson's work brought into the English language the procedures of Ciceronian rhetoric, and quickly became a mainstay of the academic curriculum. It reveals much about the education of such authors as Shakespeare, Spenser, Jonson, and Milton. Other 20th-century editions have been facsimiles, or have retained the original spelling; this modernizes the spelling and punctuation of the 1560 second edition. Indexed only by rhetorical terms. Annotation copyright by Book News, Inc., Portland, OR
Presenting a look at how racism works to inhibit academic achievement by limiting academic opportunities, this personal narrative weaves stories from an individual's life with an examination of research and popular thought on language use, literacy, and intelligence among people of color. The narrative considers the personal experiences of an academic of color (in this specific case, an American of Puerto Rican heritage) in the light of the history of rhetoric, the English Only movement, current socio- and psycho-linguistic theory, and the writings of Antonio Gramsci and Paulo Freire, among others, as well as the phenomenon of assimilation. Chapters are: (1) The Block; (2) An American of Color; (3) "Spic in English!"; (4) Coming to a Critical Consciousness; (5) "Ingles" in the Colleges; (6) Of Color, Classes, and Classrooms; and (7) Intellectuals and Hegemony. A "Post(modern)script" is attached. (Contains 164 references.) (RS)
Black or Right: Anti/Racist Campus Rhetorics explores notions of Blackness in white institutional—particularly educational—spaces. In it, Louis M. Maraj theorizes how Black identity operates with/against ideas of difference in the age of #BlackLivesMatter. Centering Blackness in frameworks for antiracist agency through interdisciplinary Black feminist lenses, Black or Right asks how those racially signifying “diversity” in US higher education (and beyond) make meaning in the everyday. Offering four Black rhetorics as antiracist means for rhetorical reclamation—autoethnography, hashtagging, inter(con)textual reading, and reconceptualized disruption—the book uses Black feminist relationality via an African indigenous approach. Maraj examines fluid, quotidian ways Black folk engage anti/racism at historically white institutions in the United States in response to violent campus spaces, educational structures, protest movements, and policy practice. Black or Right’s experimental, creative style strives to undiscipline knowledge from academic confinement. Exercising different vantage points in each chapter—autoethnographer, digital media scholar/pedagogue, cultural rhetorician, and critical discourse analyst—Maraj challenges readers to ecologically understand shifting, multiple meanings of Blackness in knowledge-making. Black or Right’s expressive form, organization, narratives, and poetics intimately interweave with its argument that Black folk must continuously invent “otherwise” in reiterative escape from oppressive white spaces. In centering Black experiences, Black theory, and diasporic Blackness, Black or Right mobilizes generative approaches to destabilizing institutional whiteness, as opposed to reparative attempts to “fix racism,” which often paradoxically center whiteness. It will be of interest to both academic and general readers and significant for specialists in cultural rhetorics, Black studies, and critical theory.
Taking up the charge to study discourses of marginalized groups, while simultaneously extending scholarship about Latina/os in the field of Communication, Latina/o Discourse in Vernacular Spaces: Somos de Una Voz? provides the most current work examining the vernacular voices of Latina/os. The editors of this diverse collection structure the book along four topics_Locating Foundations, Citizenship and Belonging, The Politics of Self-Representation, and Trans/National Voces_that are guided by the organizing principle of voz/voces [voice/voces]. Voz/voces resonates not only in intellectual endeavors but also in public arenas in which perceptions of Latina/os' being of one voice circulate. The study of voz/voces proceeds from a variety of sites including cultural myth, social movement, music, testimonios, a website, and autoethnographic performance. By questioning and addressing the politics of voz/voces, the essays collectively underscore the complexity that shapes Latina/o multivocality. Ultimately, the contours of Latina/o vernacular expressions call attention to the ways that these unique communities continue to craft identities that transform social understandings of who Latina/os are, to engage in forms of resistance that alter relations of power, and to challenge self- and dominant representations.
THE SUNDAY TIMES BESTSELLER 'A mind-expanding tour of the world without leaving your paintbox. Every colour has a story, and here are some of the most alluring, alarming, and thought-provoking. Very hard painting the hallway magnolia after this inspiring primer.' Simon Garfield The Secret Lives of Colour tells the unusual stories of the 75 most fascinating shades, dyes and hues. From blonde to ginger, the brown that changed the way battles were fought to the white that protected against the plague, Picasso's blue period to the charcoal on the cave walls at Lascaux, acid yellow to kelly green, and from scarlet women to imperial purple, these surprising stories run like a bright thread throughout history. In this book Kassia St Clair has turned her lifelong obsession with colours and where they come from (whether Van Gogh's chrome yellow sunflowers or punk's fluorescent pink) into a unique study of human civilisation. Across fashion and politics, art and war, The Secret Lives of Colour tell the vivid story of our culture.