The Weimar origins of political theory is a widespread and powerful narrative, but this singular focus leaves out another intellectual history that historian David L. Marshall works to reveal: the Weimar origins of rhetorical inquiry. Marshall focuses his attention on Martin Heidegger, Hannah Arendt, Walter Benjamin, and Aby Warburg, revealing how these influential thinkers inflected and transformed problems originally set out by Max Weber, Carl Schmitt, Theodor Adorno, Hans Baron, and Leo Strauss. He contends that we miss major opportunities if we do not attend to the rhetorical aspects of their thought, and his aim, in the end, is to lay out an intellectual history that can become a zone of theoretical experimentation in para-democratic times. Redescribing the Weimar origins of political theory in terms of rhetorical inquiry, Marshall provides fresh readings of pivotal thinkers and argues that the vision of rhetorical inquiry that they open up allows for new ways of imagining political communities today.

Hannah Arendt and the History of Thought, edited by Daniel Brennan and Marguerite La Caze, enrichens and deepens scholarship on Arendt’s relation to philosophical history and traditions. Some contributors analyze thinkers not often linked to Arendt, such as William Shakespeare, Hans Jonas, and Simone de Beauvoir. Other contributors treat themes that are pressing and crucial to understanding Arendt’s work, such as love in its many forms, ethnicity and race, disability, human rights, politics, and statelessness. The collection is anchored by chapters on Arendt’s interpretation of Kant and her relation to early German Romanticism and phenomenology, while other chapters explore new perspectives, such as Arendt and film, her philosophical connections with other women thinkers, and her influence on Eastern European thought and activism. The collection expands the frames of reference for research on Arendt—both in terms of using a broader range of texts like her Denktagebuch and in examining her ideas about judgment, feminism, and worldliness in this wider context.

In the articles collected here Nancy Struever explores the basic assumption that rhetoric is not simply a bag of persuasive tricks, but functions, necessarily, as a mode of inquiry investigating not simply the mechanics of production and reception of discourse, but the psychological factors of reason and passion engaged by the assertion, modification, and contest of beliefs and dispositions of the civil communities. The first section looks both at contemporary historians employing rhetorical constructs and tactics and at contemporary accounts of the employment of rhetorical pedagogical material and theoretical texts in medieval and Renaissance cultural practices. The second set of articles considers change and continuity in the rhetorical exploitation's of genre forms in cultural programs, focuses on the strong reorientation of Classical forms of moral inquiry, on the ingenious use of the proverb, of etymology, of the exemplum, as well as on the changes in strategies in the theater, the novel, and art criticism. The final section deals with the strong historical interconnections of rhetoric with other disciplines: the motives and investigative tactics of medicine and rhetoric in the Renaissance and Early Modernity, and the shared interests and interwoven careers of rhetoric and law.

"The term "fascist" has been thrown around in American politics and culture for much of the twentieth and twenty-first century. It is a popular epithet that is used to brand all kinds of political opponents from left to right. What does the term mean? How is it used? How did it show up in American history and culture with the rise of fascist regimes in Europe before World War II? Why has its use persisted even as those regimes were defeated? Why has "fascist" come to carry such negative associations? In Fascism Comes to America Bruce Kuklick explores the history of the use and meaning of fascism in American politics and culture for the past hundred years. His survey spans everything from scholarly work to the statements of politicians, the writings of journalists and pundits, and its use in popular culture, particularly in the way fascism has been employed in film. His goal is to figure out how people have used the concept to critique our politics, to comment on the history of the twentieth century, and as a term of derision in politics and culture. Kuklick argues the term has almost no meaning in the way politicians and pundits have used it. He explores its use in popular culture to show how culture critiqued fascism in serious work-i.e. something like Robert Penn Warren's novel All the King's Men on Huey Long-as well as in comedy and satire. He concludes that the use of the term "fascism" illustrates how language is often drained of meaning as it is employed to deride opposing views or to hide real feelings or issues. --- For example, he explores the way the label "fascist" was applied to Roosevelt and his New Deal and in turn applied by Roosevelt and his supporters to those who opposed the New Deal. This became even more pointed as World War II began and the American Firsters and other isolationist groups traded insults as they fought over whether the United States should get into the war. --- Among other things, Kuklick is trying to understand the way language is used in politics and how culture and politics relate, with culture sometimes taking the lead in explicating what politicians and even academics leave murky"--

The ensuing debates and disagreements over the recent past, examined by the author, open up a window into the wider development of German memory, identity, and politics after the end of the Cold War."--BOOK JACKET.

Subversion and Conformity of Literary Collage: Between Cut and Glue fills a gap in the current scholarship on literary collage, by addressing how different the interpretations of the concept are, depending on the author who uses the concept and the material and writers surveyed. The book studies writers who employed literary collage during the twentieth and twenty-first centuries, some whose works have been intensely analyzed from this perspective (William S. Burroughs and Walter Benjamin), but also some whose collage-writing style has recently been investigated by writers, being usually placed under the umbrella term of artist books (Stelio Maria Martini).

Ranging from Cicero's Rome to contemporary politics, Words on Fire is a provocative rethinking of political eloquence for our time.

It seems hard to imagine a concept more significant to modern thought than critique. Critique involved distancing oneself from religious explanations and theological argumentation and came to represent the essence of secular consciousness's potential to deliver modernity's promise of human progress through rational inquiry and scientific development. Critiques of Theology debunks this common understanding. Based on a novel reading of previously less-discussed writings by Sigmund Freud, Walter Benjamin, Theodor Adorno, and Hannah Arendt, the book shows how the practice of critique emerged out of religious traditions and can, in many ways, be traced back to them. This study points to a persistent misreading of critique and demonstrates that it does not come from outside of religion to build a new world of ideas; on the contrary, it redeploys those already present within its theological constellations.

"... I have used essays from the book to help dance graduate students push their thinking beyond the studio and their own physical experience and to realize the varied resources, approaches, and theoretical positions possible in writing about the body." -- Dance Research Journal "Choreographing History... assembles an impressive diversity of sites, disciplines and critical approaches... [and] includes not only historical bodies and discourses, but also the very bodies of the historians themselves." -- Parachute "This volume is not only full of gems (the very lineup of preeminent scholars is impressive), but is also a neat cross-section of the academic conventions and mannerisms of our time." -- Dance Chronicle "... [an] important step... in the ineluctable dance by postmodern historians across a bridge that spans the gaps among disciplines, between theory and practice, and betweeen present and past." -- Theatre Journal Historians of science, sexuality, the arts, and history itself focus on the body, merging the project of writing about the body with theoretical concerns in the writing of history.

In this second edition of Steve Fuller's original work Philosophy, Rhetoric, and the End of Knowledge: A New Beginning for Science and Technology Studies, James Collier joins Fuller in developing an updated and accessible version of Fuller's classic volume. The new edition shifts focus slightly to balance the discussions of theory and practice, and the writing style is oriented to advanced students. It addresses the contemporary problems of knowledge to develop the basis for a more publicly accountable science. The resources of social epistemology are deployed to provide a positive agenda of research, teaching, and political action designed to bring out the best in both the ancient discipline of rhetoric and the emerging field of science and technology studies (STS). The authors reclaim and integrate STS and rhetoric to explore the problems of knowledge as a social process--problems of increasing public interest that extend beyond traditional disciplinary resources. In so doing, the differences among disciplines must be questioned (the exercise of STS) and the disciplinary boundaries must be renegotiated (the exercise of rhetoric). This book innovatively integrates a sophisticated theoretical approach to the social processes of creating knowledge with a developing pedagogical apparatus. The thought questions at the end of each chapter, the postscript, and the appendix allow the reader to actively engage the text in order to discuss and apply its theoretical insights. Creating new standards for interdisciplinary scholarship and communication, the authors bring numerous disciplines into conversation in formulating a new kind of rhetoric geared toward greater democratic participation in the knowledge-making process. This volume is intended for students and scholars in rhetoric of science, science studies, philosophy, and communication, and will be of interest in English, sociology, and knowledge management arenas as well.