A transdisciplinary exploration of the work of Kenneth Burke and posthumanist rhetorics. In considering questions of power and persuasion as well as of ethics, responsibility, the contributors to this volume imagine the contradictions among Burke's writings and posthumanism as opportunities for knowledge making"--Provided by publisher.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Being-Moved: Rhetoric as the Art of Listening by Daniel M. GrossNathaniel A. RiversBeing-Moved: Rhetoric as the Art of Listening. By Daniel M. Gross. Oakland: University of California Press, 2020. 260 pp. Paper $34.95. ISBN: 9780520340466.September 29, 2008. Radiohead front man Thom Yorke sits frustrated at his piano. Live on stage. He is trying to start a song, but something is tripping him up. The song is “Videotape,” and (...) he cannot start playing it. “Temporary loss of information,” he mumbles to an expectant crowd.The song “Videotape” is syncopated, meaning there is a “placement of rhythmic stresses or accents where they wouldn’t normally occur” (Wikipedia 2021). Practically, it means that Yorke is joining a song already in progress: there is a beat before the beat that “starts” the song. Yorke, then, is starting the song not on the down beat but after the down beat—after the song has already started. He needs to hear something before he can play anything. He needs to hear the beat before he can sing. “Give me the fuckin’ hi-hats only,” he asks.Yorke is moved by the drum and a beat not his alone. It is a beat preceding him to which he must become subject. He needs to listen, but it is a particular kind of listening: a passive listening that makes him, as it were, “subject to the instruction of others” (Gross 137).Like Yorke on stage in 2008, I struggled to start and write this review. Not for any fault in the book, which is clear and concise, complex and compelling, but because I wanted to write a review that practiced the art of listening Gross cultivates:Active listening [“auditor-as-judge”], as it is understood by theoreticians and practitioners of persuasion from classical antiquity through today, only takes off at dusk like Hegel’s owl of Minerva, leaving behind obscurities of our daily lives including our susceptibility [End Page 190] to advertising, our political apathy, our immersion in common-sense, our lovely credulity, our vulnerability to others, our very capacity to learn and change. We have much work ahead when it comes to the theoretical and practical nuances of listening in its passive dimensions.(137)This review practices listening to this call in this way. The worry remains that the genre of the book review tends toward what Gross identifies as active listening: the judge, the critic. I should probably be the “active listener-as-judge” (83). Surely, a good reviewer should protect future readers from a “bad teacher” (131). But how should a book review practicing passive listening read? Does it aim for learning? Surely. Credulity? Why not. Subjection? Hmm.... It is, after all, subjection that lies at the heart of Gross’s book. Subjection is the beat before the beat that is rhetoric, an art forever syncopated.There are many aspects of Gross’s argument, which I will hear out below, but key for me, and crucial for Gross’s argument, is his emphasis on passive dispositions (e.g., apathy, adherence, suggestibility, attentiveness, etc.) crucial to political formations and so vital to rhetoric. Being moved, toward which rhetoric (sacred rhetoric especially) bends, must admit not only to the prowess and power of the rhetor but also, necessarily, to the “basic vulnerability that lies at the heart of political agency itself ” (1). Indeed, “Rhetoric as a life science depends upon those lives affected” (8). Because of this dependence (and dependencies saturate the arts of listening), “rhetoric offers much more detail because it is the traditional domain where subjection is both theorized and practiced” (3).To articulate this offer, Gross works through what he describes as the “orphaned materials of modernity [that] often turn out to be vital strains of a different geology altogether” (12). Gross is here describing his own historiographic methodology. There are other things to hear in and about rhetoric. The core of his argument isn’t simply that listening is a practice important to rhetoric, with listening understood as a kind of critical facility—what Gross calls “active listener-as-judge” (83–84). Listening, for Gross, through his approach to Heidegger, bears upon being and becoming... (shrink)