Gregory Clark
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780226218182
- eISBN:
- 9780226218359
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226218359.003.0001
- Subject:
- Music, Philosophy of Music
This chapter sets the stage for the book, framing its inquiries into democratic civic life, jazz as civic model, and Kenneth Burke’s aesthetic rhetoric using Burke’s concept of constitutions with the ...
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This chapter sets the stage for the book, framing its inquiries into democratic civic life, jazz as civic model, and Kenneth Burke’s aesthetic rhetoric using Burke’s concept of constitutions with the concept of constitutions. For Burke a constitution is rhetorical as it prompts people to work “to substantiate an ought”--to make what they think will be a better way of life tangible, visible and, in the case of jazz, audible. The chapter develops a concept of jazz as constitutional in that sense. Both in the way it is made and in the experience of hearing it played, this music constitutes individuals as a participants in a common project where they can combine their separate gifts toward an end with which each one comes, throught the process, to identify. The chapter then locates this concept in the context of relevant scholarly literature on music and aesthetics, jazz, American civic life, and Kenneth Burke.Less
This chapter sets the stage for the book, framing its inquiries into democratic civic life, jazz as civic model, and Kenneth Burke’s aesthetic rhetoric using Burke’s concept of constitutions with the concept of constitutions. For Burke a constitution is rhetorical as it prompts people to work “to substantiate an ought”--to make what they think will be a better way of life tangible, visible and, in the case of jazz, audible. The chapter develops a concept of jazz as constitutional in that sense. Both in the way it is made and in the experience of hearing it played, this music constitutes individuals as a participants in a common project where they can combine their separate gifts toward an end with which each one comes, throught the process, to identify. The chapter then locates this concept in the context of relevant scholarly literature on music and aesthetics, jazz, American civic life, and Kenneth Burke.
Jason Maxwell
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780823282463
- eISBN:
- 9780823286317
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282463.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter considers the odd status of literary and rhetorical critic Kenneth Burke within English Studies. It does so by examining a debate between Burke and Fredric Jameson that occurred in the ...
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This chapter considers the odd status of literary and rhetorical critic Kenneth Burke within English Studies. It does so by examining a debate between Burke and Fredric Jameson that occurred in the late 1970s in the journal Critical Inquiry; careful attention to the nuances of their exchange reveals why Burke has come to occupy such a central role within the discourse of rhetorical theory but has been largely overlooked within literary and critical theory. Although Burke and Jameson share many similarities concerning methodology and a host of related issues, they ultimately split on the structural characteristics of late capitalism. Whereas Burke asserts that capitalism operates by producing conformity and standardization, Jameson argues that capitalism must be understood as a much more dynamic system. Their differences on this matter illuminate a number of underlying tensions within theoretical work produced in the humanities today.Less
This chapter considers the odd status of literary and rhetorical critic Kenneth Burke within English Studies. It does so by examining a debate between Burke and Fredric Jameson that occurred in the late 1970s in the journal Critical Inquiry; careful attention to the nuances of their exchange reveals why Burke has come to occupy such a central role within the discourse of rhetorical theory but has been largely overlooked within literary and critical theory. Although Burke and Jameson share many similarities concerning methodology and a host of related issues, they ultimately split on the structural characteristics of late capitalism. Whereas Burke asserts that capitalism operates by producing conformity and standardization, Jameson argues that capitalism must be understood as a much more dynamic system. Their differences on this matter illuminate a number of underlying tensions within theoretical work produced in the humanities today.
Gregory Clark
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780226218182
- eISBN:
- 9780226218359
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226218359.001.0001
- Subject:
- Music, Philosophy of Music
This book weaves three inquiries into an argument about how individuals can preserve and improve civic life in democratic cultures. The term “civic life” refers here to the interaction of citizens ...
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This book weaves three inquiries into an argument about how individuals can preserve and improve civic life in democratic cultures. The term “civic life” refers here to the interaction of citizens rather than to practices of government. The primary inquiry explores what democracy requires of individuals, proceeding through two other inquiries: one into jazz music as a model for democratic interaction, and the other into Kenneth Burke’s rhetorical conception of art as experiential and potentially transformative. Jazz is often described as democratic. Kenneth Burke’s quite American rhetorical and aesthetic theory explains how that is so. For Burke, rhetoric prompts a sense of shared identity, a sense that follows from an experience that is like being taken through a story of a song. Among individuals who are jealous of their freedom, this way of change seems more appropriate, more fitting, than argument. Working with others to address immediate problems they share can align for a time individuals who are otherwise very different. That is what jazz does: it enables people who are different and even in conflict to combine in cooperation toward an end that matters to all of them just now. This is what civic life in democratic cultures demands. The chapters in this book cycle through these inquiries, elaborating and improvising on them on each pass.Less
This book weaves three inquiries into an argument about how individuals can preserve and improve civic life in democratic cultures. The term “civic life” refers here to the interaction of citizens rather than to practices of government. The primary inquiry explores what democracy requires of individuals, proceeding through two other inquiries: one into jazz music as a model for democratic interaction, and the other into Kenneth Burke’s rhetorical conception of art as experiential and potentially transformative. Jazz is often described as democratic. Kenneth Burke’s quite American rhetorical and aesthetic theory explains how that is so. For Burke, rhetoric prompts a sense of shared identity, a sense that follows from an experience that is like being taken through a story of a song. Among individuals who are jealous of their freedom, this way of change seems more appropriate, more fitting, than argument. Working with others to address immediate problems they share can align for a time individuals who are otherwise very different. That is what jazz does: it enables people who are different and even in conflict to combine in cooperation toward an end that matters to all of them just now. This is what civic life in democratic cultures demands. The chapters in this book cycle through these inquiries, elaborating and improvising on them on each pass.
Matthew Stratton
- Published in print:
- 2013
- Published Online:
- May 2014
- ISBN:
- 9780823255450
- eISBN:
- 9780823261086
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823255450.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter examines the ways in which discourses around irony intersect with discourses of law, race, responsibility, and recognition in the period that saw the institutionalization of both ...
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This chapter examines the ways in which discourses around irony intersect with discourses of law, race, responsibility, and recognition in the period that saw the institutionalization of both modernism and the New Criticism. Legal and literary history, political theory, and formalist close reading help reframe the ways that Ralph Ellison consistently invoked what he called a “gyroscope of irony” to frame the political reception of his only finished novel. Ellison enacts and expands irony as theorized by his friend Kenneth Burke to form particular dispositions toward information and thus to valorize agonistic disagreement as the means by which just decisions are reached in a democracy. Against attacks on the novel and on Ellison himself as retreating from political engagement, this chapter argues that Invisible Man redefines and undermines definitions of irony, and thereby definitions of politics that are limited either to direct action or to legislative formalism.Less
This chapter examines the ways in which discourses around irony intersect with discourses of law, race, responsibility, and recognition in the period that saw the institutionalization of both modernism and the New Criticism. Legal and literary history, political theory, and formalist close reading help reframe the ways that Ralph Ellison consistently invoked what he called a “gyroscope of irony” to frame the political reception of his only finished novel. Ellison enacts and expands irony as theorized by his friend Kenneth Burke to form particular dispositions toward information and thus to valorize agonistic disagreement as the means by which just decisions are reached in a democracy. Against attacks on the novel and on Ellison himself as retreating from political engagement, this chapter argues that Invisible Man redefines and undermines definitions of irony, and thereby definitions of politics that are limited either to direct action or to legislative formalism.
Gregory Clark
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780226218182
- eISBN:
- 9780226218359
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226218359.003.0002
- Subject:
- Music, Philosophy of Music
This chapter uses jazz to explain Kenneth Burke’s highly rhetorical conception of the arts that follows from both his theory of form and his redirection of rhetoric from persuasion to identification. ...
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This chapter uses jazz to explain Kenneth Burke’s highly rhetorical conception of the arts that follows from both his theory of form and his redirection of rhetoric from persuasion to identification. For Burke, aesthetic form is a particular “way of experiencing” that, when diverse people share it, binds them together in awareness and attitude that affects each one’s present sense of self, of identity. Such rhetoric relies on experience as much as argument, experience that takes the form he described in Counter-Statement that moves people step-by–step to a new state of mind. Jazz music how illustrates this rhetoric of identification that binds people together by a shared experience of commitment to a common project. Such rhetoric can move individuals who differ or even conflict toward cooperation more successfully than argument might. While such shared experience does not demand agreement, it does align people in practical effort and purpose. The cooperative improvisation that makes jazz music provides differing people a way of interacting that enables them to bridge their separation, at least for the duration of their common task.Less
This chapter uses jazz to explain Kenneth Burke’s highly rhetorical conception of the arts that follows from both his theory of form and his redirection of rhetoric from persuasion to identification. For Burke, aesthetic form is a particular “way of experiencing” that, when diverse people share it, binds them together in awareness and attitude that affects each one’s present sense of self, of identity. Such rhetoric relies on experience as much as argument, experience that takes the form he described in Counter-Statement that moves people step-by–step to a new state of mind. Jazz music how illustrates this rhetoric of identification that binds people together by a shared experience of commitment to a common project. Such rhetoric can move individuals who differ or even conflict toward cooperation more successfully than argument might. While such shared experience does not demand agreement, it does align people in practical effort and purpose. The cooperative improvisation that makes jazz music provides differing people a way of interacting that enables them to bridge their separation, at least for the duration of their common task.
Vincent Sherry
- Published in print:
- 2004
- Published Online:
- September 2007
- ISBN:
- 9780195178180
- eISBN:
- 9780199788002
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195178180.003.0006
- Subject:
- Literature, 20th-century Literature and Modernism
The Epilogue follows the book's account of the ways in which English literary modernism was formed in response to the Great War, by showing how various movements in the history of literary criticism ...
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The Epilogue follows the book's account of the ways in which English literary modernism was formed in response to the Great War, by showing how various movements in the history of literary criticism were unable to identify or admit the historical content and implication of this fact. Beginning with F. R. Leavis's New Bearings in English Poetry, the misreading of modernism is often repeated and culminates in the New Critical movement in America in the 1930s, which witnesses a severe misapprehension of I. A. Richards's historically informed critical principle of pseudo-statement, while the critical understanding of Kenneth Burke, most notably in Permanence and Change: An Anatomy of Purpose, marks a signal exception to this rule.Less
The Epilogue follows the book's account of the ways in which English literary modernism was formed in response to the Great War, by showing how various movements in the history of literary criticism were unable to identify or admit the historical content and implication of this fact. Beginning with F. R. Leavis's New Bearings in English Poetry, the misreading of modernism is often repeated and culminates in the New Critical movement in America in the 1930s, which witnesses a severe misapprehension of I. A. Richards's historically informed critical principle of pseudo-statement, while the critical understanding of Kenneth Burke, most notably in Permanence and Change: An Anatomy of Purpose, marks a signal exception to this rule.
Giorgio Mariani
- Published in print:
- 2015
- Published Online:
- April 2017
- ISBN:
- 9780252039751
- eISBN:
- 9780252097850
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252039751.003.0003
- Subject:
- Literature, American, 20th Century Literature
This chapter examines how the rhetoric of war may be turned against war by focusing on the views of William James, Kenneth Burke, and Stephen Crane. Recent literary criticism has suggested that, far ...
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This chapter examines how the rhetoric of war may be turned against war by focusing on the views of William James, Kenneth Burke, and Stephen Crane. Recent literary criticism has suggested that, far from being powerless or simply neutral vis-à-vis the armed conflicts it seeks to represent, language is complicit with violence. This understanding of the relationship between language and violence has been filed by James Dawes under the rubric of “the disciplinary model”—a model that conceives language and violence “as mutually constitutive.” This chapter first considers the ways in which the hard facts of war and violence may be both acknowledged and worked through before discussing Burke's template for understanding the tension as well as the cooperation between war and peace. It also analyzes James's “The Moral Equivalent of War” and concludes by testing the usefulness of some of Burke's recommendations for literary studies through a reading of Crane's “A Mystery of Heroism.”Less
This chapter examines how the rhetoric of war may be turned against war by focusing on the views of William James, Kenneth Burke, and Stephen Crane. Recent literary criticism has suggested that, far from being powerless or simply neutral vis-à-vis the armed conflicts it seeks to represent, language is complicit with violence. This understanding of the relationship between language and violence has been filed by James Dawes under the rubric of “the disciplinary model”—a model that conceives language and violence “as mutually constitutive.” This chapter first considers the ways in which the hard facts of war and violence may be both acknowledged and worked through before discussing Burke's template for understanding the tension as well as the cooperation between war and peace. It also analyzes James's “The Moral Equivalent of War” and concludes by testing the usefulness of some of Burke's recommendations for literary studies through a reading of Crane's “A Mystery of Heroism.”
Brett C. McInelly
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780198708940
- eISBN:
- 9780191779640
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198708940.003.0003
- Subject:
- Religion, Church History, History of Christianity
Chapter 2 outlines the implications of approaching Methodism as a rhetorical problem, and argues that a rhetorical approach helps to explain why Methodism represented a gateway to salvation for some ...
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Chapter 2 outlines the implications of approaching Methodism as a rhetorical problem, and argues that a rhetorical approach helps to explain why Methodism represented a gateway to salvation for some while others viewed it as a trapdoor to religious enthusiasm. The appeal of Methodism rested, in large part, on what Kenneth Burke refers to as an experience of symbolic identification, an inter-subjective experience in which individuals see themselves in and through the language of others. The ways Methodists experienced and expressed their faith, including the sharing of personal testimony, the publication of spiritual autobiography, preaching, and letter writing, facilitated the kind of symbolic experience Burke describes. Moreover, such an approach is less concerned with theological veracity or the authenticity of religious kinds of experience than with discursive practices.Less
Chapter 2 outlines the implications of approaching Methodism as a rhetorical problem, and argues that a rhetorical approach helps to explain why Methodism represented a gateway to salvation for some while others viewed it as a trapdoor to religious enthusiasm. The appeal of Methodism rested, in large part, on what Kenneth Burke refers to as an experience of symbolic identification, an inter-subjective experience in which individuals see themselves in and through the language of others. The ways Methodists experienced and expressed their faith, including the sharing of personal testimony, the publication of spiritual autobiography, preaching, and letter writing, facilitated the kind of symbolic experience Burke describes. Moreover, such an approach is less concerned with theological veracity or the authenticity of religious kinds of experience than with discursive practices.
Jason Maxwell
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780823282463
- eISBN:
- 9780823286317
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823282463.003.0002
- Subject:
- Literature, Criticism/Theory
This chapter examines how “rhetoric” has been defined and used in different fields within the discipline of English. It examines the writings of two key figures—Paul de Man and Kenneth Burke— who ...
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This chapter examines how “rhetoric” has been defined and used in different fields within the discipline of English. It examines the writings of two key figures—Paul de Man and Kenneth Burke— who have used rhetoric to underwrite their critical projects. Analyzing de Man and Burke’s respective works illuminates a shared investment in the rhetorical concept of agonism; their shared focus on agonism allows us to think beyond a familiar disciplinary narrative where literary studies’ investment in rhetoric is limited to tropes and figures while composition studies’ investment in rhetoric is limited to persuasion. De Man and Burke’s shared focus on agonism illustrates the discipline’s understanding of criticism as an “unending conversation,” a fact that ultimately complicates any clear divisions between fields within the discipline of English.Less
This chapter examines how “rhetoric” has been defined and used in different fields within the discipline of English. It examines the writings of two key figures—Paul de Man and Kenneth Burke— who have used rhetoric to underwrite their critical projects. Analyzing de Man and Burke’s respective works illuminates a shared investment in the rhetorical concept of agonism; their shared focus on agonism allows us to think beyond a familiar disciplinary narrative where literary studies’ investment in rhetoric is limited to tropes and figures while composition studies’ investment in rhetoric is limited to persuasion. De Man and Burke’s shared focus on agonism illustrates the discipline’s understanding of criticism as an “unending conversation,” a fact that ultimately complicates any clear divisions between fields within the discipline of English.
Robert Appelbaum
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780198745761
- eISBN:
- 9780191808197
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198745761.003.0001
- Subject:
- Literature, 16th-century and Renaissance Literature, 17th-century and Restoration Literature
This chapter defines terrorism as the word may be used in a variety of contexts, from ancient times to the twenty-first century. It shows how stories about terrorism circulated in early modern ...
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This chapter defines terrorism as the word may be used in a variety of contexts, from ancient times to the twenty-first century. It shows how stories about terrorism circulated in early modern Europe, with what general significance, in keeping with the operations of a ‘mythography’, a body of ‘enabling fictions’, and a ‘dialectic of recognition’, through political adversaries’ struggle for domination. The aim of the book is explained as an intended contribution to literary and cultural history, using a variety of texts’ textual and supra-textual features, but also as a contribution to ‘critical terrorism studies’. The methodology of the study, derived from Kenneth Burke’s ‘grammar of motives’, is explained and justified.Less
This chapter defines terrorism as the word may be used in a variety of contexts, from ancient times to the twenty-first century. It shows how stories about terrorism circulated in early modern Europe, with what general significance, in keeping with the operations of a ‘mythography’, a body of ‘enabling fictions’, and a ‘dialectic of recognition’, through political adversaries’ struggle for domination. The aim of the book is explained as an intended contribution to literary and cultural history, using a variety of texts’ textual and supra-textual features, but also as a contribution to ‘critical terrorism studies’. The methodology of the study, derived from Kenneth Burke’s ‘grammar of motives’, is explained and justified.
Zoran Oklopcic
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780198799092
- eISBN:
- 9780191839573
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198799092.003.0003
- Subject:
- Law, Constitutional and Administrative Law
Focusing on the scenic dimension of the visual register of constituent imagination, Chapter 3 focuses on how select early modern, modern, and contemporary theorists stage the scenes in which a ...
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Focusing on the scenic dimension of the visual register of constituent imagination, Chapter 3 focuses on how select early modern, modern, and contemporary theorists stage the scenes in which a sovereign (people) appears either as the author or as the outcome of the act of constitution. Building on Kenneth Burke’s theory of dramatism, the chapter shows how choreographed interplay among four abstract stage ‘props’ allows constitutional thinkers to stage one of the most important attributes of sovereignty—its capacity for creatio ex nihilo. Through a series of engagements with Hobbes, Rousseau, Schmitt, Sieyès, Lefort, and others, Chapter 3 reveals how they conformed to the unwritten laws of constituent dramatism, as well as the tricks they resorted to in order to bring a sovereign people into imaginative existence.Less
Focusing on the scenic dimension of the visual register of constituent imagination, Chapter 3 focuses on how select early modern, modern, and contemporary theorists stage the scenes in which a sovereign (people) appears either as the author or as the outcome of the act of constitution. Building on Kenneth Burke’s theory of dramatism, the chapter shows how choreographed interplay among four abstract stage ‘props’ allows constitutional thinkers to stage one of the most important attributes of sovereignty—its capacity for creatio ex nihilo. Through a series of engagements with Hobbes, Rousseau, Schmitt, Sieyès, Lefort, and others, Chapter 3 reveals how they conformed to the unwritten laws of constituent dramatism, as well as the tricks they resorted to in order to bring a sovereign people into imaginative existence.
Zoran Oklopcic
- Published in print:
- 2018
- Published Online:
- July 2018
- ISBN:
- 9780198799092
- eISBN:
- 9780191839573
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198799092.003.0010
- Subject:
- Law, Constitutional and Administrative Law
As the final chapter of the book, Chapter 10 confronts the limits of an imagination that is constitutional and constituent, as well as (e)utopian—oriented towards concrete visions of a better life. ...
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As the final chapter of the book, Chapter 10 confronts the limits of an imagination that is constitutional and constituent, as well as (e)utopian—oriented towards concrete visions of a better life. In doing so, the chapter confronts the role of Square, Triangle, and Circle—which subtly affect the way we think about legal hierarchy, popular sovereignty, and collective self-government. Building on that discussion, the chapter confronts the relationship between circularity, transparency, and iconography of ‘paradoxical’ origins of democratic constitutions. These representations are part of a broader morphology of imaginative obstacles that stand in the way of a more expansive constituent imagination. The second part of the chapter focuses on the most important five—Anathema, Nebula, Utopia, Aporia, and Tabula—and closes with the discussion of Ernst Bloch’s ‘wishful images’ and the ways in which manifold ‘diagrams of hope and purpose’ beyond the people may help make them attractive again.Less
As the final chapter of the book, Chapter 10 confronts the limits of an imagination that is constitutional and constituent, as well as (e)utopian—oriented towards concrete visions of a better life. In doing so, the chapter confronts the role of Square, Triangle, and Circle—which subtly affect the way we think about legal hierarchy, popular sovereignty, and collective self-government. Building on that discussion, the chapter confronts the relationship between circularity, transparency, and iconography of ‘paradoxical’ origins of democratic constitutions. These representations are part of a broader morphology of imaginative obstacles that stand in the way of a more expansive constituent imagination. The second part of the chapter focuses on the most important five—Anathema, Nebula, Utopia, Aporia, and Tabula—and closes with the discussion of Ernst Bloch’s ‘wishful images’ and the ways in which manifold ‘diagrams of hope and purpose’ beyond the people may help make them attractive again.
Mae G. Henderson
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780195116595
- eISBN:
- 9780199375219
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195116595.003.0017
- Subject:
- Literature, African-American Literature, Women's Literature
This chapter offers a memorial retrospective of novelist Bebe Moore Campbell, drawing on the parallels between the author’s and the critic’s common backgrounds and experiences. In novels such as Your ...
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This chapter offers a memorial retrospective of novelist Bebe Moore Campbell, drawing on the parallels between the author’s and the critic’s common backgrounds and experiences. In novels such as Your Blues Ain’t Mine, Singing in the Comeback Choir, Brothers and Sisters, What You Owe Me, and 72-Hour Hold, Campbell’s subject, broadly speaking, is the modern condition and the human condition—not universalized and flattened out, but read through the complex lenses of race, gender, and class, as these categories intersect to shape individual lives in a society dominated by corporate, mass, and popular culture. Campbell provides what the great cultural critic Kenneth Burke describes as “literature as equipment for living.” Campbell’s novels address the social and psychic challenges and conflicts facing those who seek to live principled and accountable lives, informed by a sense of social justice and an ethic of care.Less
This chapter offers a memorial retrospective of novelist Bebe Moore Campbell, drawing on the parallels between the author’s and the critic’s common backgrounds and experiences. In novels such as Your Blues Ain’t Mine, Singing in the Comeback Choir, Brothers and Sisters, What You Owe Me, and 72-Hour Hold, Campbell’s subject, broadly speaking, is the modern condition and the human condition—not universalized and flattened out, but read through the complex lenses of race, gender, and class, as these categories intersect to shape individual lives in a society dominated by corporate, mass, and popular culture. Campbell provides what the great cultural critic Kenneth Burke describes as “literature as equipment for living.” Campbell’s novels address the social and psychic challenges and conflicts facing those who seek to live principled and accountable lives, informed by a sense of social justice and an ethic of care.
James Dempsey
- Published in print:
- 2014
- Published Online:
- September 2014
- ISBN:
- 9780813049267
- eISBN:
- 9780813050096
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813049267.003.0021
- Subject:
- Literature, 20th-century Literature and Modernism
The Dial in its later years remains an important magazine, publishing William Carlos Williams’, Paterson along with an appreciation by Kenneth Burke. It featured essays by T. S. Eliot, Malcolm ...
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The Dial in its later years remains an important magazine, publishing William Carlos Williams’, Paterson along with an appreciation by Kenneth Burke. It featured essays by T. S. Eliot, Malcolm Cowley, Havelock Ellis, George Saintsbury, Bertrand Russell, Paul Valéry, and George Santayana, fiction by D. H. Lawrence, Thomas Mann, E. E. Cummings, and Maxim Gorki; and verse by Hart Crane. In 1929, Thayer's mother and advisors decide to pull out, and the magazine loses its financial backing. The July 1929 issue is the last.Less
The Dial in its later years remains an important magazine, publishing William Carlos Williams’, Paterson along with an appreciation by Kenneth Burke. It featured essays by T. S. Eliot, Malcolm Cowley, Havelock Ellis, George Saintsbury, Bertrand Russell, Paul Valéry, and George Santayana, fiction by D. H. Lawrence, Thomas Mann, E. E. Cummings, and Maxim Gorki; and verse by Hart Crane. In 1929, Thayer's mother and advisors decide to pull out, and the magazine loses its financial backing. The July 1929 issue is the last.
Daniel Harrison
- Published in print:
- 2016
- Published Online:
- June 2016
- ISBN:
- 9780190244460
- eISBN:
- 9780190244484
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190244460.003.0005
- Subject:
- Music, Theory, Analysis, Composition
Cultural contexts for the starting conditions of contemporary are explored, with a particular focus on the responses of composers who finished their training and entered the profession just as its ...
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Cultural contexts for the starting conditions of contemporary are explored, with a particular focus on the responses of composers who finished their training and entered the profession just as its practices were changing radically, around 1910. Their situation is analyzed according to Edward Hall’s definition of high- and low-context cultures, Kenneth Burke’s concept of “piety,” and the psychological stress of “choice anxiety.” These lead to behaviors that can be read in musical compositions according to a few heuristic binaries: (1) attitudes to historical practice (ironic, sincere); (2) preferences about appeal (popular, rarefied); and (3) identification with communities (local, global). Essays on compositions by Shostakovich, Hindemith, Bernstein, Wilson, Chen, Martin, Barber, Shire, and Prokofiev illustrate pertinent analytic techniques.Less
Cultural contexts for the starting conditions of contemporary are explored, with a particular focus on the responses of composers who finished their training and entered the profession just as its practices were changing radically, around 1910. Their situation is analyzed according to Edward Hall’s definition of high- and low-context cultures, Kenneth Burke’s concept of “piety,” and the psychological stress of “choice anxiety.” These lead to behaviors that can be read in musical compositions according to a few heuristic binaries: (1) attitudes to historical practice (ironic, sincere); (2) preferences about appeal (popular, rarefied); and (3) identification with communities (local, global). Essays on compositions by Shostakovich, Hindemith, Bernstein, Wilson, Chen, Martin, Barber, Shire, and Prokofiev illustrate pertinent analytic techniques.
John R. Parkinson
- Published in print:
- 2012
- Published Online:
- January 2015
- ISBN:
- 9780199214563
- eISBN:
- 9780191803321
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199214563.003.0002
- Subject:
- Political Science, Comparative Politics
This chapter develops a performative account of democracy, one that specifies a number of roles that need to be played, including roles for every member of the demos and roles for elected, selected, ...
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This chapter develops a performative account of democracy, one that specifies a number of roles that need to be played, including roles for every member of the demos and roles for elected, selected, or self-selected representatives. It sets out, in broad terms, the theoretical linkages between each role and the kind of stage — the kind of physical public space — that the performance of those roles requires. In doing so, it draws on Kenneth Burke's concept (1969) of the ‘scene-act ratio’, by way of Hajer (2009), arguing that while for some roles and some narrative content pretty much any stage will do, for others there are very specific requirements. In particular, it argues that public claim-making requires highly visible stages, which limits the range of possibilities in interesting ways, and that binding collective decision-making and scrutiny of the decision-makers require not just visible but single stages, putting decision-makers under the spotlight and keeping them there. The implications are these: it is a functional requirement of democracy that binding collective decision-making takes place in a single, visible, and accessible venue; and it is a requirement of democracy that public claims be made in places that are conducive to being noticed and taken seriously by the rest of the demos.Less
This chapter develops a performative account of democracy, one that specifies a number of roles that need to be played, including roles for every member of the demos and roles for elected, selected, or self-selected representatives. It sets out, in broad terms, the theoretical linkages between each role and the kind of stage — the kind of physical public space — that the performance of those roles requires. In doing so, it draws on Kenneth Burke's concept (1969) of the ‘scene-act ratio’, by way of Hajer (2009), arguing that while for some roles and some narrative content pretty much any stage will do, for others there are very specific requirements. In particular, it argues that public claim-making requires highly visible stages, which limits the range of possibilities in interesting ways, and that binding collective decision-making and scrutiny of the decision-makers require not just visible but single stages, putting decision-makers under the spotlight and keeping them there. The implications are these: it is a functional requirement of democracy that binding collective decision-making takes place in a single, visible, and accessible venue; and it is a requirement of democracy that public claims be made in places that are conducive to being noticed and taken seriously by the rest of the demos.
Steve Pinkerton
- Published in print:
- 2017
- Published Online:
- February 2017
- ISBN:
- 9780190627560
- eISBN:
- 9780190627584
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780190627560.003.0005
- Subject:
- Literature, 20th-century and Contemporary Literature, 20th-century Literature and Modernism
This chapter turns to the interwar period’s reigning assumptions about homosexuality as “sexual inversion,” and to the satiric demolition those assumptions undergo in the works of Djuna Barnes. In ...
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This chapter turns to the interwar period’s reigning assumptions about homosexuality as “sexual inversion,” and to the satiric demolition those assumptions undergo in the works of Djuna Barnes. In accordance with its trademark inversions of the sacred, blasphemy serves Barnes as a uniquely effective means to turn modern sexology on its head. As with James Joyce’s “New Womanly Man,” Mina Loy’s “New Woman,” and the Niggeratti’s irreverent revisions of “the New Negro,” Barnes conscripts a blasphemous aesthetic into the service of articulating a distinctively modernist identity: in this case a queer identity unaccounted for by the period’s popular and scientific discourses of gender and desire.Less
This chapter turns to the interwar period’s reigning assumptions about homosexuality as “sexual inversion,” and to the satiric demolition those assumptions undergo in the works of Djuna Barnes. In accordance with its trademark inversions of the sacred, blasphemy serves Barnes as a uniquely effective means to turn modern sexology on its head. As with James Joyce’s “New Womanly Man,” Mina Loy’s “New Woman,” and the Niggeratti’s irreverent revisions of “the New Negro,” Barnes conscripts a blasphemous aesthetic into the service of articulating a distinctively modernist identity: in this case a queer identity unaccounted for by the period’s popular and scientific discourses of gender and desire.
Steven Mullaney
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780226547633
- eISBN:
- 9780226117096
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226117096.003.0011
- Subject:
- Literature, 16th-century and Renaissance Literature
The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and ...
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The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and neighbors dumped in a marsh. Radical protestants sought to dissociate the present from the past in extreme, traumatic, and not-always theologically driven ways. Such “rage[s] against the dead” sought to erase a deep and affective form of historical memory. Post-Reformation England used a wide range of affective media and technologies in its efforts to understand the gaps that had opened up in the social and affective landscape. Early modern amphitheater drama, a melding of available media, was one of the more telling responses. It was a key component in the period’s “equipment for living,” in Kenneth Burke’s phrase—providing a public place where audiences could experience, investigate, dig into, or salve the cognitive and affective conditions of their own possibility.Less
The Prologue opens with an emblematic moment in 1549, when Lord Protector Somerset ordered the Ossuary at St. Paul’s emptied and the bones of four hundred years of loved ones, ancestors, and neighbors dumped in a marsh. Radical protestants sought to dissociate the present from the past in extreme, traumatic, and not-always theologically driven ways. Such “rage[s] against the dead” sought to erase a deep and affective form of historical memory. Post-Reformation England used a wide range of affective media and technologies in its efforts to understand the gaps that had opened up in the social and affective landscape. Early modern amphitheater drama, a melding of available media, was one of the more telling responses. It was a key component in the period’s “equipment for living,” in Kenneth Burke’s phrase—providing a public place where audiences could experience, investigate, dig into, or salve the cognitive and affective conditions of their own possibility.
Robert Appelbaum
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780198745761
- eISBN:
- 9780191808197
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198745761.001.0001
- Subject:
- Literature, 16th-century and Renaissance Literature, 17th-century and Restoration Literature
Terrorism is as old as ancient history. Whenever a society has developed to the point where it is governed as a political entity, it has made itself vulnerable to that form of violence we now call ...
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Terrorism is as old as ancient history. Whenever a society has developed to the point where it is governed as a political entity, it has made itself vulnerable to that form of violence we now call terrorism—violence that sends a message with the power of changing power. This book focuses on England, Scotland, and France in the period between 1559 and 1642, when over twenty-seven major incidents of terrorist violence occurred, and literally hundreds of texts tried to come to terms with what that violence meant, even in a time before the word ‘terrorism’ had been invented. Authors discussed at length in this study include the playwrights Christopher Marlowe, William Shakespeare, Robert Garnier, and Pierre Corneille; political writers George Buchanan, Gabriel Naudé, and the anonymous author of Vindicae contra tyrannos; the poets Edmund Spenser, John Milton, Pierre de Ronsard, Guillaume Du Bartas, and Agrippa d’Aubigné; and religious writers like the Catholic priests Jean Boucher and John Gerard and the Protestant minister Richard Rogers. Looming over the imaginations of early modern writers were the assassinations of princes and such notorious episodes as the Saint Bartholomew Massacre and the abortive Gunpowder Plot. This book documents how writers developed a ‘mythography’ of terrorism to make sense of the violence, and how political agents themselves appropriated the mythography to bring about major social and religious change.Less
Terrorism is as old as ancient history. Whenever a society has developed to the point where it is governed as a political entity, it has made itself vulnerable to that form of violence we now call terrorism—violence that sends a message with the power of changing power. This book focuses on England, Scotland, and France in the period between 1559 and 1642, when over twenty-seven major incidents of terrorist violence occurred, and literally hundreds of texts tried to come to terms with what that violence meant, even in a time before the word ‘terrorism’ had been invented. Authors discussed at length in this study include the playwrights Christopher Marlowe, William Shakespeare, Robert Garnier, and Pierre Corneille; political writers George Buchanan, Gabriel Naudé, and the anonymous author of Vindicae contra tyrannos; the poets Edmund Spenser, John Milton, Pierre de Ronsard, Guillaume Du Bartas, and Agrippa d’Aubigné; and religious writers like the Catholic priests Jean Boucher and John Gerard and the Protestant minister Richard Rogers. Looming over the imaginations of early modern writers were the assassinations of princes and such notorious episodes as the Saint Bartholomew Massacre and the abortive Gunpowder Plot. This book documents how writers developed a ‘mythography’ of terrorism to make sense of the violence, and how political agents themselves appropriated the mythography to bring about major social and religious change.
