In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.2 (2002) 91-95 [Access article in PDF] From: A Symposium on Rhetoric, Writing, and Culture Jeffrey Walker For who does not know, except them, that the art of using letters is fixed and unchanging, so that we always use the same letters for the same purposes, but in the art of discourse the case is entirely the reverse? —Isocrates, Against the SophistsThe essays composing this issue (...) of Philosophy and Rhetoric are based on papers that originally were presented at a symposium on "Rhetoric, Writing, and Culture," sponsored by the Emory University Center for Teaching and Curriculum, Department of English, and Hightower Fund, in March 2001. The ostensible purpose of the symposium was to consider the double nature and status of rhetoric: on one hand, a hermeneutic/theoretical discipline with applications across the humanities (in the analysis of texts, events, culture, argumentative practices, ideologies, and so forth); and, on the other hand, a practical "art of discourse," a techne, whose central or distinctive application is the training of skilled writers and speakers. The former tends to be emphasized in contemporary rhetorical studies, while the latter is the most familiar (though not necessarily essential) characteristic of "classical" or ancient rhetoric. Likewise, we can connect these two orientations, respectively, with rhetorical cultural studies and with the teaching of writing, speaking, and communication in general. While the natural assumption is that these two orientations are mutually supporting, that is not always or necessarily the case. One can argue that the first pulls in the direction of "philosophy" (however that may be defined), while the second pulls in the direction of sheer technique—and at one time or another, each has been [End Page 91] open to criticism for its lack of attention to the other: philosophers are ineffective rhetoricians, and cannot intervene in the public sphere; orators are superficial thinkers, and practice an irresponsible, demagogic art of manipulation and domination. This tension goes all the way back to the first critiques of the sophists, and plays out through the entire history of rhetoric. The symposium's speakers, then, were asked to reflect, in any way that seemed suitable to them, on either or both aspects of rhetoric's double nature, and/or the relationships between them.A symposium, inevitably, as a rhetorical event, always takes its own somewhat unpredictable trajectory, as papers are produced and presented, and as the ensuing discussion unfolds. And the four essays presented here—Steven Mailloux on Frederick Douglass and the nineteenth-century American debate over slavery; Susan Wells on "double consciousness" in S. Weir Mitchell's account of the case of Mary Reynolds and W. E. B. Du Bois's The Souls of Black Folk; James L. Kastely on the discontinuity between the "philosophical" and "technical" halves of Plato's Phaedrus;and Richard Doyle on the strange intersection between the emergence of LSD and the evolution of biotechnological understandings of DNA—are all revisions and expansions of the original presentations, reflecting the contingencies of their invention and reinvention. Nevertheless, the original motives of the symposium are still in evidence.As different as these essays are, it can be said that one or two underlying themes run through them, and provide a reply to the original topic proposed for the symposium. Perhaps the keynote is what Mailloux describes as "rhetorical paths of thought": that is, the "migration" and "evolution" of topoi, figures, lines of arguments, bits of narratives, and rhetorical traditions themselves (or fragments of them?) "from one community to another... [and] from one cultural moment to the next," as Frederick Douglass takes in the rhetorical traditions, practices, tropes and arguments exemplified in the Columbian Orator, as well as Aristotle's arguments on slavery, and as they become enabling parts of his own rhetorical repertoire in the debate on abolition. In Wells's essay, this appears as the "refunctioning" or reworking of topoi, as the notion of "double consciousness" is adapted as part of a "new logic of scientific authority" in Mitchell's account of "split personality," and also as a way of understanding and performing public discourse and identity in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetorical Investigations: Studies in Ordinary Language CriticismJeffrey WalkerRhetorical Investigations: Studies in Ordinary Language Criticism. Walter Jost. Charlottesville: University of Virginia Press, 2004. Pp. xiii + 346. $55.00, hardcover.As the sixth-century BCE poet Theognis once wrote, "Hearken to me, child, and discipline your wits; I'll tell / a tale not unpersuasive nor uncharming to your heart; / but set your mind to gather what I say; there's no necessity (...) / to do what's not according to your will" (Theognidea 1235–38; my translation). While this poem ostensibly is a pederastic proposition, it is also and more fundamentally (as I have argued elsewhere) a poem about poetry as a rhetorical transaction. Poetry is the poet's act of heart-charming persuasion or seduction; the duty of the audience, the object of the poet's seduction, is to "discipline your wits," that is, to exercise hermeneutic and critical judgment on the way to understanding fully and being persuaded or unpersuaded to think or do as the poet asks (for seduction is not compulsion). Finally, and as Theognis's poetry elsewhere suggests, the audience's act of being-persuaded or unpersuaded ultimately is an enactment of, a rehearsal of, an ethical or intellectual position (stance, schêma) that is on its way (with further, repeated rehearsals) to becoming part of the audience's ethical-intellectual performative repertoire, or in other words its êthos, or what Kenneth Burke would call its identity.This richly researched, densely argued, excellent book by Walter Jost could well be understood as a modern (or postmodern) instantiation of a "Theognidean" rhetorical poetics. At one point early on, for example, Jost invokes Angus Fletcher to sum up the activities of an ordinary-language approach to poetry as "thinking the poem": "taking the poem as an occasion for thought; thinking through the poem; being aware of one's thoughts as one reads the poem; looking for some logic in the poem; allowing the poem to trigger certain lines of thought," and so forth (Fletcher, Colors of the Mind, 111–12; Jost 9–10). This is "disciplining one's wits" to "gather what the poet says" and to follow out its implications on the way to judging what Jost calls "the meaning and quality... of an experienced artifact or event or performance" (10). As Jost develops his theoretical frame, which draws most heavily from Ludwig Wittgenstein, Stanely Cavell, and Kenneth Burke—as well as a host of others in a basically pragmatist tradition—this becomes an explicitly rhetorical approach to poetry, and specifically to Robert Frost's poetry, understood as an epideictic "showing forth" of thought that invites its audience, like Theognis's addressee, to "think [End Page 178] the poem" through and to form a relationship (whether identificational or contestatory) with the system of topoi that underwrites its judgments.Rhetorical Investigations is divided into two main parts. "Book I," titled "Rhetoric: An Advanced Primer," consists of four chapters that attempt to lay out the conceptual framework for, and to philosophically justify, Jost's rhetorical-hermeneutic approach to poetry, while also setting up Robert Frost as a distinctive exemplar of a "low modernist" practice that demonstrates the central themes of ordinary-language and pragmatist philosophy, essentially by dramatizing them, and that stands as a significant (if under-appreciated) alternative to the "high modernist" mode of Ezra Pound, T. S. Eliot, and their successors. Frost, in other words (though Jost does not say this explicitly) takes the less-traveled modernist path that Kenneth Burke embarked on in Counter-Statement and pursued for the rest of his career. The key topoi for the framework laid out in these four chapters are: dialectic/dialogue as the medium for an ordinary-language philosophical practice (chap. 1); rhetorical invention as what is missing from "high modernism's" sense of epistemological crisis and anomie (chap. 2); "grammar" as the system of topoi, or commonplaces, that underwrite ordinary language-use and are instantiated by it, and that provide the grounds (what speakers "acknowledge") for deliberation and judgment in practical thought and action (chap. 3); and logic as the implicatures of ordinary-language thought that enable epideictic argument in poetry and that make it something... (shrink)

This examination of the critical writings of Dionysius of Halicarnassus hopes to suggest two main things: First, recent arguments about the irrelevance of classical rhetoric to postmodern rhetorical criticism-conceived as a general hermeneutic of "rhetoricality", not only render the notion of "rhetorical criticism" itself increasingly problematic, but also tend to presuppose a simplified (and basically neo-Aristotelian) image of "classical rhetoric" that is unsustainable. Second an more importantly, even as we recognise that ancient rhetoric was oriented toward a discursive realm rather (...) different from that of postmodernity, and without advocating a simplistic "return to Dyonisius", nevertheless it may be argued that Dyonisius still embodies a general paradigm of "rhetorical criticism" that merits our consideration. (shrink)