From high school cafeterias to the floor of Congress, insult is a truly universal and ubiquitous cultural practice with a long and earthy history. And yet, this most human of human behaviors has rarely been the subject of organized and comprehensive attention—until _Toward a Rhetoric of Insult_. Viewed through the lens of the study of rhetoric, insult, Thomas M. Conley argues, is revealed as at once antisocial and crucial for human relations, both divisive and unifying. Explaining how this works and (...) what exactly makes up a rhetoric of insult prompts Conley to range across the vast and splendidly colorful history of offense. Taking in Monty Python, Shakespeare, Eminem, Cicero, Henry Ford, and the Latin poet Martial, Conley breaks down various types of insults, examines the importance of audience, and explores the benign side of abuse. In doing so, Conley initiates readers into the world of insult appreciation, enabling us to regard insults not solely as means of expressing enmity or disdain, but as fascinating aspects of human interaction. (shrink)

The enduring persistence of the examples and exercises used in handbooks of the traditional arts of the Trivium (grammar, logic, and rhetoric) suggests that they were recognized as perennially effective as ways to inculcate intellectual virtue in many generations of students. Yet an examination of those examples and exercises suggests that only the ones in the rhetoric curriculum were able to resist acquiring the bad habits of the sister arts of grammar and logic. Sensitivity to facts and meanings and the (...) ability to manipulate theses do not by themselves guarantee the formation of active and competent citizens. Only when those virtues are combined in the interests of eloquence-the art of disciplined expressioncan they be fully realized. (shrink)

Perelman teaches us that, unlike demonstrations, arguments cannot be reduced to or understood as closed systems. In some particular--but telling-- ways, arguments are like jokes. Telling a joke requires close attention to, e.g., appropriateness as re gards subjects, length, the extent of shared knowledge of both particulars and stereotypes, and whether it is possible to be ironic without being misunderstood. Thinking along these lines points up the futil ity of reducing either the invention or the evaluation of arguments to formal (...) schemata. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Persuasion and RhetoricThomas M. ConleyPersuasion and Rhetoric. Carlo Michelstaedter. Translated with an introduction and commentary by Russell Scott Valentino, Cinzia Sartini Blum, and David J. Depew : New Haven: Yale University Press, 2004. Pp. 178. $32.50, hardcover.Readers of this book will not find much in it about the "persuasion" and "rhetoric" they might expect to read about in this journal. Nor will they find in it the Appendici (...) Critiche that appear in the original text, Michelstaedter's thesis entitled I concetti di persuasione e rettorica [sic] in Platone e Aristotele, which he submitted to the Faculty of Letters in Florence in 1910. But the version printed here by the editors (hereafter "VBD," as there is no indication of who did what) will no doubt appeal to those who dislike Plato and Aristotle, have the idea that something better can be found in the Presocratics, and claim allegiance to such philosophers as Schopenhauer, Nietzsche, and the Heidegger of Being and Time; for this is a book about the problem of attaining a sort of existential "authenticity" and not, in my view, "one of the most trenchant and influential studies in modern rhetoric," as the liner notes claim. To be sure, Persuasione e rettorica has been the subject of decades of contentious scholarship in Italy. But most of that scholarship (and that displayed in the headnotes provided by VBD) concerns the sources of Michelstaedter's ideas and his true debt to the likes of Parmenides and Heraclitus, both of whom figure significantly in his worldview."Persuasione"—and I use the Italian here to avoid confusion—might best be understood to mean a sort of self-possession, being at one with oneself and with the world, or what I called before "authenticity." Michelstaedter himself never makes an effort to define it, for to do that would be to turn it into the sort of abstraction that Michelstaedter opposes. Defining things, as we learn from the Appendici, is the sort of thing philosophers like Aristotle and Hegel do in an act of bad faith or delusion. "Persuasione" is, by contrast, something lived, not understood—or, more precisely, it is a state to which true philosophers (Parmenides and Socrates, for instance) aspire with the full understanding that, like the limit approached asymptotically by an hyperbola (see 48, 109), it can never be attained. That understanding was replaced by the false consciousness represented by the "rettorica" taught by the Sophists and Plato (along with his disciple, Aristotle), and continues to the present day. This account is hinted at in the "Historical Example" allegory of the present text (77–84); but is more fully "documented" in a section of the long Appendix 2, "Note alla triste historia" (107–56 in the 1972 Raschini edition), entitled "La decadenza" (129–35). [End Page 170]"Rettorica," then, is the name Michelstaedter gives to the whole range of ingenious linguistic devices we use to convince ourselves that we are satisfied, fulfilled, secure in our selves and in the world—i.e., "persuaded"—when we are only suffering from a delusion created by language itself. It is rettorica that gives rise to "commonplaces" that masquerade as true understanding, to the impostures of "science" in the name of "objectivity" (see 89–95), to technology and machines, to "education" (110–11, 148–52), and indeed to every manifestation of bourgeois ideology (see the "dialogue" at 104–6, for instance). Rettorica is a kind of hypocrisy, deception, and (self-) flattery; an instrument of "the community of the wicked" (100, 143), a collection of "ornaments of the darkness" (e.g., 137, 139).The problem we face in acknowledging all this is, of course, that the attempt to articulate it has to be done in language; and language, by its very nature in all its semantic and syntactic elements (the point of Appendix 1, Raschini, 103–6), subverts true "persuasione." How can one "speak truth to authenticity," so to speak, when one begins by "giving a name to" its contrary, "rettorica"?"Trenchant," in any event, is hardly the right term to describe Persuasion and Rhetoric. "Mordant" or "plangent" might be closer to the mark. And as for its influence on "modern rhetoric... (shrink)