Your search for: rhetoric AND of AND crisis

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer ...

John Bryant's book is a strong and significant argument for the centrality of the comic and repose in Melville's novels. The purpose of Melville and Repose is dual: to ground the uses of romantic humor in Melville in sensitive readings of contemporaneous European and American writings, and to offer a definitive account of the comic as the shaping force of Melville's narrative voice throughout the major phase of his literary career. Bryant argues that Melville fused a "rhetoric of geniality" and "picturesque sensibility" adopted from the British with a "rhetoric of deceit" borrowed from the American tall tale in order to create his own amiably cosmopolitan "rhetoric of aesthetic repose." Thorough research into American culture and recent Melville manuscript findings, an engaging style, and full, scholarly readings combine to make this historicist study a welcome addition to the libraries of Americanists and Melville scholars and enthusiasts.

Rhetoric and composition theory has shown a renewed interest in sophistic countertraditions, as seen in the work of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Helene Cixous and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis traces today's ...

Rhetoric and composition theory has shown a renewed interest in sophistic countertraditions, as seen in the work of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Helene Cixous and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis traces today's theoretical interest to those countertraditions, she also sets her sights beyond them.

Davis takes a "third sophistics" approach, one that focuses on the play of language that perpetually disrupts the "either/or" binary construction of dialectic. She concentrates on the nosequential third -- excess -- that overflows language's dichotomies. In this work, laughter operates as a trope for disruption or breaking up, which is, from Davi's perspective, a joyfully destructive shattering of our confining conceptual frameworks.

The author explains all of Joyce's writing in terms of music & evaluates the music - its form, kind, & technique - in each work. Using Joyce's own rhetoric of theme & variation, the author moves from one character to another, through the poems, fiction, & drama, noting improvisations & finding ...

The author explains all of Joyce's writing in terms of music & evaluates the music - its form, kind, & technique - in each work. Using Joyce's own rhetoric of theme & variation, the author moves from one character to another, through the poems, fiction, & drama, noting improvisations & finding intricate musical patterns throughout the canon. As Joyce's work grows in philosophical complexiity, the author says, its music becomes more recognizable. In Chamber Music & part of Dublines, Joyce at first merely mentions musical titles, instruments, & forms. In other stories in Dubliners, he alludes to them. His writing in A Portrait of the Artist as a Young Man begins to approximate musical techniques, & music reflects & dominates its story & characters. By the time of Finnegans Wake, it replaces both. Within the works, the author cites examples of musical augmentation, diminution, harmony, counterpoint, & key signatures, showing how the works become more experimental & increasingly dissonant in the manner of avant-garde composers. Exploring fresh territory in the study of Joyce & music & of music & literature, the author argues that Joyce's characters & works operate between the extremes of order & disorder, harmony & chaos, music & noise, & that these polarities both signal & contribute to the rhetoric within the texts. Finally, he says, Joyce's rhetoric itself becomes music.