Rhetoric gives our words the power to inspire. But it's not just for politicians: it's all around us, whether you're buttering up a key client or persuading your children to eat their greens. You have been using rhetoric yourself, all your life. After all, you know what a rhetorical question is, don't you? In this updated edition of his classic guide, Sam Leith traces the art of argument from ancient Greece down to its many modern mutations. He introduces verbal villains from Hitler to Donald Trump - and the three musketeers: ethos, pathos and logos. He explains how rhetoric works in speeches from Cicero to Richard Nixon, and pays tribute to the rhetorical brilliance of AC/DC's "Back In Black". Before you know it, you'll be confident in chiasmus and proud of your panegyrics - because rhetoric is useful, relevant and absolutely nothing to be afraid of.
"An entertaining history of great oratory" and a primer to rhetoric's key techniques (The New Yorker). Rhetoric gives our words the power to inspire. But it's not just for politicians: it's all around us, whether you're buttering up a key client or persuading your children to eat their vegetables. You have been using rhetoric yourself, all your life. After all, you know what a rhetorical question is, don't you? In Words Like Loaded Pistols, Sam Leith traces the art of argument from ancient Greece down to its many modern mutations. He introduces verbal villains from Hitler to Richard Nixon—and the three musketeers: ethos, pathos and logos. He explains how rhetoric works in speeches from Cicero to Obama, and pays tribute to the rhetorical brilliance of AC/DC's "Back In Black". Before you know it, you'll be confident in chiasmus and proud of your panegyrics— because rhetoric is useful, relevant, and absolutely nothing to be afraid of.
Rhetoric and the Responsibility to and for Language: Speaking of Evil relocates the “problem of evil”— the question of why God would allow for the existence of evil—and surveys it as a rhetorical problem. It raises this question: if we speak evil, how shall we speak of evil? When we communicate, we are naming, and evil as the corruption of language plays a central role in that naming. Evil freezes our words, convinces us we have the sole right to their definitions, and generally stifles the dynamic gift of language. By looking at how people in different eras and situations have named evil, this book suggests how we can better take responsibility for our words and why we owe a responsibility to language as our ethical stance toward evil.
Contingency, Immanence, and the Subject of Rhetoric considers rhetoric as the historical counterpoint of philosophical and religious discourses via its correspondences with antique rabbinic exegetical practices and contemporary psychoanalytic insights into causation. Timothy Richardson takes up the rabbinic position to demonstrate how traditional Greco-Christian rhetoric might be insufficient to account for what we now mean by rhetoric as a discipline.
Makerspaces—local workshops that offer access to and training on fabrication technologies, often with a focus on creativity, education, and entrepreneurship—proliferated in the 2010s, popping up in cities across the world. Beyond the Makerspace is a longitudinal, ethnographically informed study of a particular Seattle makerspace that begins in 2015 and ends with the closing of the space in 2018. Examining acts of making with objects, tools, words, and relationships, Beyond the Makerspace reads making as a kind of rhetoric, or meaning-making work, and argues that acts of making things are rhetorical in the sense that they are culturally situated and that they mark boundaries of what counts as making and who counts as maker. By focusing on a particular makerspace over time, Shivers-McNair attends to a changing cohort of makerspace regulars as they face challenges of bringing their vision of inclusivity and diversity to fruition, and offers an examination of how makers are made (and unmade, and remade) in a makerspace. Beyond the Makerspace contributes not only to our understanding of making and makerspaces, but also to our understanding of how to study making—and meaning making, more broadly—in ways that examine and intervene in the marking of difference. Thus, the book examines what (and whose) values and practices we are taking up when we identify as makers or when we turn a writing classroom or a library space into a makerspace.
Disability Rhetoric is the first book to view rhetorical theory and history through the lens of disability studies. Traditionally, the body has been seen as, at best, a rhetorical distraction; at worst, those whose bodies do not conform to a narrow range of norms are disqualified from speaking. Yet, Dolmage argues that communication has always been obsessed with the meaning of the body and that bodily difference is always highly rhetorical. Following from this rewriting of rhetorical history, he outlines the development of a new theory, affirming the ideas that all communication is embodied, that the body plays a central role in all expression, and that greater attention to a range of bodies is therefore essential to a better understanding of rhetorical histories, theories, and possibilities.
Writing & Rhetoric Book 1: Fable Teacher's Edition includes the comlete studetn text, as well as answer keys, teacher's notes, and explanations. For every writing assignment, this edition also supplies descriptions and examples of waht excellentstudent writing should look like, providing the teacher with meaningful and concrete guidance."
"Explores prayer as a rhetorical art, examining situations, strategies, and performative modes of discourse directed to the divine"--Provided by publisher.