Persuasion After Rhetoric In The Eighteenth Century And Romanticism

This edited volume studies how in European literary culture the codified verbal system of rhetoric shifted towards persuasion in the eighteenth and nineteenth centuries.

The Oxford Handbook of British Romantic Prose is a full-length essay collection devoted entirely to British Romantic nonfiction prose. Organized into eight parts, each containing between five and nine chapters arranged alphabetically, the Handbook weaves together familiar and unfamiliar texts, events, and authors, and invites readers to draw comparisons, reimagine connections and disconnections, and confront frequently stark contradictions, within British Romantic nonfiction prose, but also in its relationship to British Romanticism more generally, and to the literary practices and cultural contexts of other periods and countries. The Handbook builds on previous scholarship in the field, considers emerging trends and evolving methodologies, and suggests future areas of study. Throughout the emphasis is on lucid expression rather than gnomic declaration, and on chapters that offer, not a dutiful survey, but evaluative assessments that keep an eye on the bigger picture yet also dwell meaningfully on specific paradoxes and the most telling examples. Taken as a whole the volume demonstrates the energy, originality, and diversity at the crux of British Romantic nonfiction prose. It vigorously challenges the traditional construction of the British Romantic movement as focused too exclusively on the accomplishments of its poets, and it reveals the many ways in which scholars of the period are steadily broadening out and opening up delineations of British Romanticism in order to encompass and thoroughly evaluate the achievements of its nonfiction prose writers.

. The contributors are Stephen C. Behrendt, Don H. Bialostosky, Jerome Christensen, Richard W. Clancey, Klaus Dockhorn, James Engell, David Ginsberg, Bruce E. Graver, Scott Harshbarger, Theresa M. Kelley, J. Douglas Kneale, John R. Nabholtz, Lawrence D. Needham, Marie Secor, Nancy S. Struever, Leslie Tannenbaum, and Susan J. Wolfson.

From Emerson to Rorty, American criticism has grappled in one way or another with the problem of modernity—specifically, how to determine critical and cultural standards in a world where every position seems the product of an interpretation. Part intellectual history, part cultural critique, this provocative book is an effort to shake American thought out of the grip of the nineteenth century—and out of its contingency blues. Paul Jay focuses his analysis on two strands of American criticism. The first, which includes Richard Poirier and Giles Gunn, has attempted to revive what Jay insists is an anachronistic pragmatism derived from Emerson, James, and Dewey. The second, represented most forcefully by Richard Rorty, tends to reduce American criticism to a metadiscourse about the contingent grounds of knowledge. In chapters on Emerson, Whitman, Santayana, Van Wyck Brooks, Dewey, and Kenneth Burke, Jay examines the historical roots of these two positions, which he argues are marked by recurrent attempts to reconcile transcendentalism and pragmatism. A forceful rejection of both kinds of revisionism, Contingency Blues locates an alternative in the work of the “border studies” critics, those who give our interest in contingency a new, more concrete form by taking a more historical, cultural, and anthropological approach to the invention of literature, subjectivity, community, and culture in a pan-American context.

A History of Preachingbrings together narrative history and primary sources to provide the most comprehensive guide available to the story of the church's ministry of proclamation. Bringing together an impressive array of familiar and lesser-known figures, Edwards paints a detailed, compelling picture of what it has meant to preach the gospel. Pastors, scholars, and students of homiletics will find here many opportunities to enrich their understanding and practice of preaching. Volume 1, appearing in the print edition, contains Edwards's magisterial retelling of the story of Christian preaching's development from its Hellenistic and Jewish roots in the New Testament, through the late-twentieth century's discontent with outdated forms and emphasis on new modes of preaching such as narrative. Along the way the author introduces us to the complexities and contributions of preachers, both with whom we are already acquainted, and to whom we will be introduced here for the first time. Origen, Chrysostom, Augustine, Bernard, Aquinas, Luther, Calvin, Wesley, Edwards, Rauschenbusch, Barth; all of their distinctive contributions receive careful attention. Yet lesser-known figures and developments also appear, from the ninth-century reform of preaching championed by Hrabanus Maurus, to the reference books developed in the thirteenth and fourteenth centuries by the mendicant orders to assist their members' preaching, to Howell Harris and Daniel Rowlands, preachers of the eighteenth-century Welsh revival, to Helen Kenyon, speaking as a layperson at the 1950 Yale Beecher lectures about the view of preaching from the pew. Volume 2, contained on the enclosed CD-ROM, contains primary source material on preaching drawn from the entire scope of the church's twenty centuries. The author has written an introduction to each selection, placing it in its historical context and pointing to its particular contribution. Each chapter in Volume 2 is geared to its companion chapter in Volume 1's narrative history. Ecumenical in scope, fair-minded in presentation, appreciative of the contributions that all the branches of the church have made to the story of what it means to develop, deliver, and listen to a sermon, A History of Preachingwill be the definitive resource for anyone who wishes to preach or to understand preaching's role in living out the gospel. "...'This work is expected to be the standard text on preaching for the next 30 years,' says Ann K. Riggs, who staffs the NCC's Faith and Order Commission. Author Edwards, former professor of preaching at Seabury-Western Theological Seminary, is co-moderator of the commission, which studies church-uniting and church-dividing issues. 'A History of Preaching is ecumenical in scope and will be relevant in all our churches; we all participate in this field,' says Riggs...." from EcuLink, Number 65, Winter 2004-2005 published by the National Council of Churches

Relying on the author’s established expertise in rhetorical theory and political communication, this book re-contextualizes Romantic rhetorical theory in the late 18th and early 19th centuries to provide a foundation for a Neo-Romantic rhetorical theory for our own time. In the process, it uses a unique methodology to correct misconceptions about many Romantic writers. The methodology of the early chapters uses a dialectical approach to trace Romanticism and its opposition, the Enlightenment, back through Humanism and its opposition, Scholasticism, to St. Augustine. These chapters include a revisionist analysis of the church’s treatment of Galileo in the course of showing how difficult it was for scientific study to be accepted in the academic world. The study also re-conceptualizes Jean-Jacques Rousseau, David Hume, and Edmund Burke as bridge figures to the Romantic Era instead of as Enlightenment figures. This move throws new light on the major artists of the Romantic Era, who are examined in chapters seven and eight. Chapter nine focuses on Percy Bysshe Shelley and his development of the rhetorical poem, and thereby provides a new genre in the Romantic catalogue. Chapter ten uses the foregoing to analyse and reconceptualize the rhetorical theories of Hugh Blair and Thomas De Quincey. The concluding chapter then synthesizes their theories with relevant contemporary rhetorical theories thereby constructing a Neo-Romantic theory for our own time. In the process, this book links the Romantics’ love of nature to the current environmental crisis.

In 18th-century France an intellectual battle was fought to raise the professional status of acting to the level of other arts involving rhetoric and expressive technique. The central strategy was based on the ancient rhetorical notion of actio, a theory of gesture, attitude, and facial expression already employed in the teaching and practice of religious, forensic, and political oratory. In this lucid study, Goodden explores the belief, championed by Diderot and others, that the primary mode of persuasion is not auditory, but visual.

Romanticism is often regarded as a turning point in literary history, the time when writers such as Wordsworth and Coleridge renounced the common legacy of poets and sought to create a new literature. Yet despite their emphasis on originality, genius, and spontaneity, the first-generation Romantics manifest a highly intertextual style that, while repressing certain classical and neoclassical literary conventions, reveals a deep dependence on those same rhetorical practices. Repression results in the symptoms of originality but it inevitably leads to the return of tradition in a different form.