By D. Diane Davis
Rhetoric and composition idea has proven a renewed curiosity in sophistic countertraditions, as noticeable within the paintings of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Hélène Cixous, and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis strains today’s theoretical curiosity to these countertraditions, she additionally units her attractions past them.
Davis takes a “third sophistics” procedure, person who specializes in the play of language that without end disrupts the “either/or” binary building of dialectic. She concentrates at the nonsequential third—excess—that overflows language’s dichotomies. during this paintings, laughter operates as a trope for disruption or breaking apart, that's, from Davis’s point of view, a joyfully harmful shattering of our confining conceptual frameworks.
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Examines the concept that of rhetorical invention from an affirmative, nondialectical perspective.
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The way forward for Invention hyperlinks classical rhetorical practices of invention with the philosophical paintings of Gilles Deleuze and Jacques Derrida and proposes that probably the most the most important implications of postmodern concept have long gone mostly unattended. Drawing on such classical rhetorical suggestions as doxa, imitation, kairos, and topos, and interesting key works by means of Aristotle, Plato, the Sophists, and others, John Muckelbauer demonstrates how rhetorical invention can provide a nondialectical, "affirmative" experience of swap that invitations us to reconsider the ways that we learn, write, and reply to others.
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About the Author
John Muckelbauer is Assistant Professor of English on the college of South Carolina.
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Additional info for Breaking Up [at] Totality: A Rhetoric of Laughter
His snowy hair was pasted back with hairspray. The chilling sound of distant taps shattered the quiet bliss of spring. I watched as a young man and his father lowered the vault into the muddy grave. I threw in a rose and a shovel of dirt, and I walked away. She remembers, too, visiting her grandmother a week later, sinking her arm “into the indentation in the arm of his chair,” burying her face “into the fabric of the chair, hoping to smell Old Spice and coffee,” but sensing only the void. Though she likens writing these memories to “screaming with a pen,” she cherishes the immortality her writing gives her grandfather: “I thank God every day that I can write.
Yet these questions would also help them to dig deeper as readers, focusing not only on the conflicts and motivations of young Douglass prior to his run to freedom but also on the motivations and techniques of Douglass the mature writer: 1. What details in the first four paragraphs convey the circumstances under which Douglass learned to read? How do these details shape Douglass’ ethos, his credibility as an intelligent human being and as an advocate for liberty? 2. How does Douglass’ “plan” for learning to read further develop his ethos?
Next, I asked them to pick one of the persons or events on their respective lists and to freewrite for two minutes on the patriot’s appearance or on the patriotic scene. Finally, to convert their still-life freewriting to a moving picture, I asked them to join me in freewriting for seven minutes on what the patriot(s) did and said that qualifies as patriotism. After this ten-minute exercise, as the students shook the cramps from their hands, I invited them to look around the room and marvel at the copious writing generated in just ten minutes, a nearly painless and almost always productive way to overcome that greatest fear of writers, particularly writers in Comp I—the blank page.