Kenneth Burke, founder of the critical method of dramatism, believed that motives and attitudes are constantly generated by individuals as they encounter social situations and material objects in the course of their everyday lives. In The Rhetoric of Emotions, Robert Perinbanayagam proposes that by analysing individuals' experiences, especially through their interaction with creative outlets, we can come to a deeper understanding of how the human mind systematically approaches the emotive process.The author maintains that individuals use spoken language, and all other forms of symbolism, including art and literature, to elicit social cooperation and emotional understanding, both in regard to the world around them and within themselves. Rhetoric and culture are mechanisms for managing values, behaviour, and emotions. In order to ground this philosophical viewpoint, Perinbanayagam strategically discusses famous novels and paintings to show how individuals construct emotional responses to the rhetorical objects at their disposal.In addition to the ideas of Burke and George Herbert Mead, the ideas of Max Weber, Georg Simmel, Charles Sanders Peirce, Edmund Husserl, Alfred Schutz, and Erving Goffman are also reflected in this provocative analysis.

Empiricism favors the visual over the verbal, the literal over the rhetorical, the static over the temporal: This is the standard charge leveled by literary theorists and writers. It is, Jules David Law demonstrates, remarkably misguided. His ambitious and challenging book explores the interplay of language and visual perception at the heart of empiricism. A re-evaluation of the British empiricist tradition from the perspective of contemporary literary theory, it also offers a sustained challenge to theory itself. In failing to grasp the issues confronting early empiricist writers or to be fully aware of their rhetorical strategies, Law says, theory has defined itself needlessly in opposition to empiricism. -- Description from http://www.booktopia.com.au (April 19, 2012).

The Romantic era in England and Germany saw a sudden renewal of prophetic modes of writing. Biblical prophecy and, to a lesser extent, classical oracle again became viable models for poetry and even for journalistic prose. Notably, this development arose out of the new-found freedom of biblical interpretation that began in the mid-eighteenth century, as the Bible was increasingly seen to be a literary and mythical text. Taking Walter Benjamin’s thinking about history as a point of departure, the author shows how the model for Romantic prophecy emerges less as a prediction of the future than as a call to change in the present, even as it quotes, at key turns, texts from the past. After surveying developments in eighteenth-century biblical hermeneutics, as well as the numerous instances of prophetic eruption in Romantic poetry, the book culminates in close readings of works by Blake, Hölderlin, and Coleridge. Each of these writers interpreted the Bible in strong, variously radical and conservative ways, and each reworked prophetic texts in often startling fashion. The author’s reading of Blake focuses on the complex temporal and rhetorical dynamics at work in a prophetic tradition, with attention paid to the key mediating figure of Milton. The chapter on Hölderlin investigates the truth-claim of poetry and the consequences of Hölderlin’s insight into the necessarily figural character of poetry. The analysis of Coleridge correlates his theory of allegory and symbol with his theory and practice of political writing, which often relies on mobilizing prophetic authority. Together, the readings force us to reexamine the claims and practices of Romantic poets and thinkers and their ideas and ideologies, not without engendering some allegorical resonance with issues in our own time.

The history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience. How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the "natural" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast, openly places the audience at the center of its rhetorical designs, and the drama of the postwar period is shown to develop a range of post-Brechtian practices that make the audience the subject of the play. Worthen's book deserves the attention of any literary critic or serious theatergoer interested in the relationship between modern drama and the spectator. The history of drama is typically viewed as a series of inert "styles." Tracing British and American stage drama from the 1880s onward, W. B. Worthen instead sees drama as the interplay of text, stage production, and audience. How are audiences manipulated? What makes drama meaningful? Worthen identifies three rhetorical strategies that distinguish an O'Neill play from a Yeats, or these two from a Brecht. Where realistic theater relies on the "natural" qualities of the stage scene, poetic theater uses the poet's word, the text, to control performance. Modern political theater, by contrast, openly places the audience at the center of its rhetorical designs, and the drama of the postwar period is shown to develop a range of post-Brechtian practices that make the audience the subject of the play. Worthen's book deserves the attention of any literary critic or serious theatergoer interested in the relationship between modern drama and the spectator.

This book is the rhetorical approach to 1 Thessalonians, particularly on funeral orations. Though many scholars have interpreted 1 Thessalonians in light of a thematic perspective, mirror reading, and epistolary approach, the author asserts that Paul employs elements of epideictic funerary oratory to persuade his audience. Encountering the growing persecution, sufferings, and even death of members, the believers of Thessalonica needed encouragement. As a rhetorical strategist, Paul needed effective methods to answer these problems, which he did so with Greco-Roman funeral orations. Moreover, this book delves into the funerary language with the paradoxical concepts Paul uses to illustrate topoi and the purpose of funeral oration in 1 Thessalonians. Consequently, this book proves these ideas by showing how funeral orations shed light on the whole of 1 Thessalonians in the exordium (1 Thess 1:2–3), the narratio (1:4—3:10), the consolation and exhortation (4:1—5:15), and peroratio with prayer (5:16–28).

Michał Choiński explores the language of the key preachers of the "Great Awakening" of the mid-eighteenth century, and seeks to explain the impact their sermons exerted upon colonial American audiences. The revival of the 1739–43 is recognized as an important event in American colonial history, formative for the shaping of the culture of New England and beyond. Choiński highlights a variety of inventive rhetorical mechanisms employed by these ministers evolved into what came to be called the rhetoric of the revival," became commonplace for American revivalism, and were fundamental for the persuasive power of Great Awakening preaching and the communicative success of the "New Light" ministers. "

Now in its second edition, Rhetorical Criticism: Perspectives in Action presents a thorough, accessible, and well-grounded introduction to contemporary rhetorical criticism. Systematic chapters contributed by noted experts introduce the fundamental aspects of a perspective, provide students with an example to model when writing their own criticism, and address the potentials and pitfalls of the approach. In addition to covering traditional modes of rhetorical criticism, the volume presents less commonly discussed rhetorical perspectives, exposing students to a wide cross-section of techniques.

This monograph challenges the accepted notion that Galatians is either a sample of classical rhetoric or should be interpreted in light of Graeco-Roman rhetorical handbooks. It demonstrates that the handbooks of Aristotle, Cicero, et al. discuss a form of oratory which was limited with respect to subject, venue and style of communication, and that Galatians falls outside such boundaries. The inapplicability of ancient canons of rhetoric is reinforced by a detailed comparison of Galatians with the handbooks, a survey of patristic attitudes towards Paul's communicative technique, and interaction with twentieth-century discussions of the nature of New Testament Greek. Dr Kern concludes that rhetorical handbooks were never a tool of literary criticism and that they cannot assist the search for a distinctly Pauline rhetoric. Thus this study has implications not only for Galatians, but also for other New Testament epistles.

"... analyzes Revelation 7:1-17 and Revelation 10:1-11:13 - interruptions in the seals and trumpets - in light of digressions in ancient rhetorical theory and practice."--Page [4] of printed paper wrapper.