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The thirty years prior to the Civil War were flamboyant and fiery times for the South. People had a passion for political issues and an ear for the lusty oratory that could be heard at any gathering, social or political. In Oratory in the Old South, Waldo Braden and his associates looked past the popular myths of that era and uncovered the true nature of the oratory of the times.In this sequel to that earlier volume, Braden and seven other speech scholars examine the oratory of accommodation that dominated the southern forum in the post-Civil War years. Speakers of this era, they find, had to overcome problems of spirit and morale; their challenge was to build up the political and personal confidence of a people who were defeated. By the same token, these speakers had to adapt their oratory to outside influences that had the power to exert military pressure, withhold funds, and employ negative political coercion. The eight essays of the book are developed topically, and the issues of racism, women's rights, states' rights, industrialization, and education are delineated as they weave into the developing story of the New South. Among the topics dealt with are the promotion of cultural myths, the tactics of Henry W. Grady as a propagandist for the New South, the oratory of the United Confederate Veterans, and the emergence of women as speakers for reform.The oft-repeated myths and encouragements of the orators helped giver southerners the distinction they thought lost, a sense of nationalism. Once created, this cohesive regionalism wrought a power, pride, and prestige so strong that they defied challenge and made many southerners impervious to change and progress until well after 1950. Oratory in the New South reveals many sources of the South's modern self-concept and stands as a unique account of this formative period.
This is a book about the newness of old things. It concerns an oratorical revolution, a transformation of oratorical style linked to larger transformations in society at large. It explores the aesthetics of Tamil oratory and its vital relationship to one of the key institutions of modern society: democracy. Therefore this book also bears on the centrality of language to the modern human condition. Though Tamil oratory is a relatively new practice in south India, the Dravidian (or Tamil nationalist) style employs archaic forms of Tamil that suggest an ancient mode of speech. Beginning with the advent of mass democratic politics in the 1940s, a new generation of politician adopted this style, known as "fine," or "beautiful Tamil" ( centamil), for its distinct literary virtuosity, poesy, and alluring evocation of a pure Tamil past. Bernard Bate explores the centamil phenomenon, arguing that the genre's spectacular literacy and use of ceremonial procession, urban political ritual, and posters, praise poetry are critical components in the production of a singularly Tamil mode of political modernity: a Dravidian neoclassicism. From his perspective, the centamil revolution and Dravidian neoclassicism suggest that modernity is not the mere successor of tradition but the production of tradition, and that this production is a primary modality of modernity, a new newness-albeit a newness of old things.
Oratory emerged as the first major form of verbal art in early America because, as John Quincy Adams observed in 1805, "eloquence was POWER." In this book, Sandra Gustafson examines the multiple traditions of sacred, diplomatic, and political speech that flourished in British America and the early republic from colonization through 1800. She demonstrates that, in the American crucible of cultures, contact and conflict among Europeans, native Americans, and Africans gave particular significance and complexity to the uses of the spoken word. Gustafson develops what she calls the performance semiotic of speech and text as a tool for comprehending the rich traditions of early American oratory. Embodied in the delivery of speeches, she argues, were complex projections of power and authenticity that were rooted in or challenged text-based claims of authority. Examining oratorical performances as varied as treaty negotiations between native and British Americans, the eloquence of evangelical women during the Great Awakening, and the founding fathers' debates over the Constitution, Gustafson explores how orators employed the shifting symbolism of speech and text to imbue their voices with power.
Over the years, the phrase “southern oratory” has become laden with myth; its mere invocation conjures up powerful images of grandiloquent antebellum patriarchs, enthusiastic New South hucksters, and raving wild-eyed demagogue politicians. In these essays, Waldo Braden strips away the myths to expose how the South’s orators achieved their rhetorical effects and manipulated their audiences. The Oral Tradition in the South begins with two essays that trace the roots of the South’s particular identification with oratory. In “The Emergence of the Concept of Southern Oratory, 1850–1950,” Braden suggests that it was through the influence of southern scholars that southern oratory gained its renown. The second essay, “The Oral Tradition in the Old South,” focuses on antebellum times to reveal the several factors that combined to make the region a fertile ground for oratory. Braden further explores the antebellum oratorical tradition in “The 1860 Election Campaign in Western Tennessee,” analyzing speeches made in Memphis by such national figures as William L. Yancey, Andrew Johnson, and Stephen A. Douglas, and revealing the nature of political canvassing in that era. Shifting his discussion to the years that followed the Civil War, Braden examines. in “Myths in a Rhetorical Context,” how such speakers as General John B. Gordon and Henry Grady worked to restore the shattered self-esteem of the region by spinning myths of the Old South and the Lost Cause and by proclaiming the hopeful era of the New South. The fifth essay, “The Rhetoric of Exploitation,” probes the rhetorical strategies of the demagogue politicians of the twentieth century-strategies such as “plain folks” appeals and race-baiting. In the final essay, “The Rhetoric of a Closed Society.” Braden analyzes the movement opposing racial integration in Mississippi. Showing how the White Citizens’ Council, Governor Ross Barnett, and other leaders manipulated the public to make the state a closed society from 1954 to 1964. Although he takes pains to establish the historical context in each of these essays, Braden’s emphasis as a rhetorical critic is always on the speeches themselves. He pays close attention to the kinds of appeals found in the words of the speeches and to the individual speaker’s use of images and phrases to evoke particular myths. But Braden looks beyond the texts of the speeches to take into account the full context of the event. “What the reader finds in the printed version of the text,” he explains, “might be only a small part of the myth, a tiny hint of what grinds inside frustrated listeners. Sometimes the trigger for the myth does not even appear in the printed version, because face-to-face the listeners and the speaker, feeling a oneness, evoke the myth without verbal expression.” To account for this nonverbal dimension of oratory, these essays assess the impact of the location and atmosphere of the gathering, the audience’s expectations, and the speaker’s use of ritual, symbolic gestures, and props. During the nearly forty years of his career, Waldo Braden has been a pioneer in the serious study of oratory. A landmark work, The Oral Tradition in the South is the capstone to a distinguished career, a comprehensive and authoritative study of the subject Braden has so innovatively researched.
In 1900, there was a general agreement among Southerners on the need for a comprehensive history of the Southern states. It had been and was a nation, sharing beliefs, traditions, and culture. This series, originally published in 1909, is a record of the South's part in the making of the American nation. It portrays the character, the genius, the achievements, and the progress in the life of the Southern people. The South, being a predominately Celtic society, excelled in oratory, and the speeches were always able to stir the crowd. This volume opens with a history of oratory, beginning with the colonial period. This volume features examples from the speeches of Patrick Henry, Luther Martin, Henry Clay, William Pinkney, Hugh S. Legarï¿1/2, John C. Calhoun, William Lowndes Yancey, Robert Y. Hayne, and many others. Even the famous evangelist Sam Jones is included. Given the influence of these spellbinders, it is easy to understand the rise of the great Southern writers and storytellers of modern times.
Provides the first full study of the predecessor church of St Peter's Basilica in Rome, from late antique construction to Renaissance destruction.
Explores the crucial role of rhetoric and oratory in creating and propagating a “Lost Cause” public memory of the American South Enduring Legacy explores the vital place of ceremonial oratory in the oral tradition in the South and analyses how rituals such as Confederate Memorial Day, Confederate veteran reunions, and dedication of Confederate monuments have contributed to creating and sustaining a Lost Cause paradigm for Southern identity. Towns studies in detail secessionist and Civil War speeches and how they laid the groundwork for future generations, including Southern responses to the civil rights movement, and beyond. The Lost Cause orators that came after the Civil War, Towns argues, helped to shape a lasting mythology of the brave Confederate martyr, and the Southern positions for why the Confederacy lost and who was to blame. Innumerable words were spent—in commemorative speeches, newspaper editorials, and statehouse oratory—condemning the evils of Reconstruction, redemption, reconciliation, and the new and future South. Towns concludes with an analysis of how Lost Cause myths still influence Southern and national perceptions of the region today, as evidenced in debates over the continued deployment of the Confederate flag and the popularity of Civil War reenactments.