Podcast
Mere Rhetoric
Hosted by Mary Hedengren · EN
A podcast for beginners and insiders about the people, ideas and movements that have defined the history of rhetoric.
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RSQ--Journal Roundup!
Aug 20, 202000:13:17Tap to summarizeWhat do a mid-century photographer, a fresh new work, politics and poop jokes, solitary confinement and a music video all have in common? Why it must be time for a rhetoric journal roundup! This week we are going to take a little journey through the quarter's last issue of Rhetoric Society Quarterly, otherwise known as the RSQ. The RSQ is the official publication of the Rhetorical Society of America, otherwise know as the RSA. So the RSA published the RSQ and now it's time for the intro for you-know-who! [intro] Welcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who shaped rhetorical history and I'm Mary Hedengren and I've finally finished the spring issue of the RSQ. Before I give you a summary of this quarter's issue, let me just give you a little context on the RSQ. The RSQ has been rolling out for decades and is probably one of the most prestigious and longest-running journals for rhetorical studies. If you become a dues-paying member of the RSA--and it's pretty cheap for students--, you can receive your own subscription to the RSQ, and you'll find that it has some of the same focus as the RSA conferences held every other year--it's focused on the rhetoric side of comp/rhet, usually with a big dose of theory. You won't find a lot of articles in the RSQ about first-year composition, but you will find archival research, cultural artifacts, history and more. So let's take a walk through the Spring 2020 issue of RSQ. First off, we have an article from PhD candidate Emliy N. Smith because, yes, grad students can get published in RSQ. Smith has looked into the photograph of Charles "Teenie" Harris, an African American photographer for the Pittsburgh Courier. Smith argues that Harris' photography counters other mid-century depictions of Black people in two important ways: first, the iconic form of photography--iconic photography, as Smith points out, are high performance. Think, as Smith says, of the photograph of raising the flag on Iwo Jima. It's dramatic, semi-staged and capital M Meaningful. Harris had some pictures like that, but Smith is more interested in the other type of photography he did, the so called idiomatic image, colloquial and conversational. She describes photographs of Harris' that show Black people creating their own lives as they are "simply moving about in a world suffused with structural racism" (85) like one picture showing kids at a Halloween party, part of their own community, and that community building its own future through its children. The "idiomatic, everyday work of building and sustaining ...Black community," Smith argues, is itself a powerful mode of visual rhetoric, not less than the iconic mode. Romeo Garcia and Jose M. Cortez wrote the next article "The Trace of a Mark That Scatters: The Anthropoi and the Rhetoric of Decoloniality." If you wondered what a third of those words mean, you are not alone. I had to read the abstract three times before I understood what the article was about, but then I began to see that those words I didn't understand were exactly what the article was about. In rhetoric we talk a lot about postcolonialism, but these authors are seeking new theories andnew terms--one term is decoloniality. Instead of positioning, for example, the Latin American experience in terms of its difference from Europe, how about just "actually theorizing rhetoric from the locus of non-Western … space" (94)? The authors give an example of the kind of contrastive rhetoric that really gets their goat. Don P Abbott wrote an article about rhetoric in Aztec culture where he says, "It is possible that Aztec discourse, both practical and conceptually, would have continued to evolve as the culture itself developed" (qtd 99) and Garcia and Crotez are like…"wait what…? So you think Aztec culture was 'undeveloped'? Do you think that logocentrism is the only way to figure rhetoric? Uh, no..!" This brings us to the other term in the title that might not be familiar--anthropoi. As you might guess, this word has a connection to anthropology, with the idea that the anthropoi are people you study, "that which cannot escape the status of being external to the subject and being gramed as object/nature" (97). But wait! de-Colonialism has its own flaws. How can modern rhetoricians ever hope to reconstruct the rhetorics of people in radically different cultures living thousands of years ago? "Decoloniality," the authors say, "cannot carry out its promis of decolonization while adopting the language and conceptual apparatus of propriety" (103) If post-colonial thinks about the other and decoloniality gets caught in a loop of using western logocentrism to approach non-Western rhetorics, what's the solution? Well….they propose an alterity symbolized in the letter X, both as the end of Latinx, and also as in the symbol you use to signify your name if you aren't literate. They "move past decoloniality without completely giving up on its ground of intervention" seeking " (104). Whew. That is some heavy stuff! Don't worry, the next article includes potty humor! Richard Benjamin Crosby at Brigham Young University (Go Cougs!), digs into the Rhetorical Grotesque, especially in the 21st century policial arena. He argues that leaders like Trump and Bolsonaro and Hugo Chavez and Silvio Berlusconi all "enact in rhetoric the kinds of incongruous combinations, comis distortions and corporeal excesses that scholars in art and literature have long associated with grotesquerie" (109, original emphasis). The grotesque, if you remember your Baktin, focuses a lot on the body, and bodily excess--eating, pooping, reproducing. As Crosby says. "The groteque's only true allegiance is to transgression of the presumed order of things" (112) and it is in this way that politicians like Trump exemplify the grotesque-- positioning themselves as transgressive, shaking up the old foundation, and being grotesque is part of that. "A political cutlass" (112) as "a mode of communication, the essence of which is transgression of or deviation from and degradation of that which is presumed to be normal" through being 1- incongruous, 2- mocking, and 3- corporal. Crosby gives examples of political discourse of the grotesque from several different countries and political positions, but Trump is the clearest example for us, especially during the Primary campaign. Trump's grotesque rhetoric argued that "Trump is real, because he is uncontained" (115) as Trump mocks accusations that he calls women he doesn't like "fat pigs, dogs, slobs and disgusting animals" and says "the big problem this country has is being politically correct" (116). Distrust in political institutions have led, says Crosby, to a "grotesque kairos" (119) of wanting to mock and dismantle social norms. And although we rebel-rousing rhetoricians often get excited about breaking social norms, Crosby points out that demagogues like Trump demonstrate that the grotesque is "a neutral tool that can be wielded by anyone skilled enough to use it" (120) and sometimes it can be disasterous. From Trump's consolidation of power we then move to the powerless--prisoners on hunger strikes in California's Pelican Bay Prison. Chris S Earle writes an article called "'More Resilient than Concrete and Steel": Consciousness-Raising, Self-Discipline and Bodily Resistance in Solitary Confinement" where he argues that the "widespread, multiracial coalition emerged through years of organizing between prison cells, a process rendered nearly impossible by solitary confinement" (124). "Against the odds," he relates, these prisoners "created a discursive space" in prison across racial boundaries in three collective hunger strikes opposition prisoner conditions (125). These hunger strikes took place in a Supermax prison and solitary confinement, among the prisoners termed "worst of the worst," yet they exemplified "strict regimes of self-discipline" (132) as the prisoners "turned their bodies into weapons of resistance" and made "a moral critiques of solitary confinement" (133). Earle concludes his article by saying that making distinctions between nonviolent and violent offenders undermines prison reform efforts and justifies "even more inhumane conditions for many people in prison" (134). In the next article, Jennifer Lin Lemesurier (li-mis-i-ur) walks us through the "racist kinesiologies" in Childish Gambino's "this is America." If you haven't seen the music video of "This is America," pause this podcast, fire up the YouTube and watch it now. You'll thank me. [....] Aaaaaand we're back. Lemesurier describes what Childish Gambino's body is doing in this video as embodying two racist assumptions about black male bodies--that they are hyper talented and hyper violent. She takes us deep into the history of Black dance as seen through the filter of white eyes, as slavers demanded slaves dance on demand across the middle passage (141) and slave owners exhibit the "savage wildness" of Black dance (142), but it's one figure of the Black male body that Childish Gambino especially channels--the 1889 figure of The Original Jim Crow, a minstrel figure who danced with a knee bend, elbow bend and naive amusement. Lemesurier, a dancer herself, describes how uneven the position is in body weight and posture, how it "does not valorize linear pattern or gentle arcs" (144)--it is a stark and mocking other. As all of my listeners have now seen the video--RIGHT?!-- you know that in the video Childish Gambino transitions seamlessly between depictions of performance and violent. "The emphasis on dance," Lemesuir writes, "is key to the critique of how Black embodiment serves white audiences" (145). "Gambino's chorerographed performance of violence is a metaperformative moment that asks vi...
Transcribe →James Berlin "Contemporary Composition: the Major Pedagogical Theories."
Jun 11, 201900:10:28Tap to summarizeSome time ago, I was asked by listener Sarah Rumsey to do a podcast on composition theory. That's a doozy of a topic, so I read a lot, I poked around, even pulled together a couple drafts, but couldn't find the balance of breadth and depth to do this subject justice. So I gave up. Ah, clever listener, you know I didn't really give up, because this is Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history and I am Mary Hedengren and instead of trying to capture the entire depth of rhetorical theory thought I could just rip off someone who did. Granted, the "did" in this case happened way back in 1982, when rhetoric and composition was still a young discipline, but the "someone" is James A Berlin, namesake of the Conference on College Composition and Communication Jim Berlin pub crawl. In addition to, I guess, being a man who could hold his liquor, Berlin was a composition historian and in 1982, he took stock of the current field of composition in an article titled "Contemporary Composition: the Major Pedagogical Theories." Now before I dive into this major theoretical typology, let me say that the article has been accused of being a little simplistic and a little...strawman-ish. Berlin himself acknowledges his bias in the article, stating, "My reasons for presenting this analysis are not altogether disinterested. I am convinced that the pedagogical approach of the New Rhetoricians is the most intelligent and most practical alternative available, serving in every way the best interests of our students" (766). Well, in that case, why even worry about other theories? And why should Sarah be taught all of these competing pedagogical theories in her composition classes? Why not just settle down with one intelligent and practical one without holding up competing theories? Won't that just confuse would-be instructors and, worse, muddle students who must adapt from one instructor's theory to another as they progress through their classes: freshman comp with a classicist and advanced writing with an expressionist? Well, for starters, you might not agree with Berlin's conclusions about which is best. And, even is so, Berlin fears that most people don't think consciously about their overall theory of writing and learning at all " many teachers," he says, "(and I suspect most) look upon their vocations as the imparting of a largely mechanical skill, important only because it serves students in getting them through school and in advancing them in their professions. This essay will argue that writing teachers are perforce given a responsibility that far exceeds this merely instrumental task" (766). Okay then, what are the theories Berlin posits for how "writer, reality, audience and language--are envisioned"(765)? First are the Neo-Aristotelians or Classicists. You might suspect, they echo the philosophies of Aristotle, but Berlin claims that actually they are "opposed to his system in every sense" (767). Okay, then, what does Aristotle posit and what do these wannabes do? Aristotle, if you remember from that famous fresco by Rafael, is the one pointing down to the earth. Berlin describes Aristotle's view that reality can be "known and communicated with language serving as the unproblematic medium os discourse. There is an uncomplicated correspondence between the sign and the thing" (767). Aristotle's rhetorical writings are among the most complete we have from the ancient world and emphasize reasoning, but also acknowledge that sometimes it takes a little appeal to emotion, too, to get the job done. Then Berlin says, in essence, okay, but what those so-called Neo-Aristotelians actually do is Current-traditional or Positivist. [For those keeping track at home, this means that there are two terms (Neo-Aristotleian or Classicist) to describe the general theory and then two (Current traditional and positivist) to describe the way that people botch it up and sometimes still call themselves NeoAristotlean.] So in what ways have Current traditionalists been mucking up Aristotle's ideas on rhetoric? Well, for starters they abandon deductive reasoning altogether and embrace exclusively induction, emphasizing only experiment and then they also "destroy" a distinction between dialective and rhetoric, "rhetoric becomes the study of all forms of communication: scientific, philosophical, historical, political, eval and even [gasp] poetic" (769). Additionally, "truth is to be discovered outside the rhetorical enterprise--through the method, usually the scientific method of the appropriate discipline, or as in poetry and oratory, through genious" (770). Instructors in this theory move beyond persuasive to "discourse that appeals to the understanding--exposition, narration, description and argumentation" and is "concerned solely with the communication of truth that is certain and empirically verifieable--in other words, not probablistic" (770). The second band Berlin identifies are the neo-Platonists or expressivist. Let's think back on that fresco by Rafael--Aristotle pointed to the ground and Plato pointed to the sky. If neo Aristotleans see themselves as focused on the empirical, the neo Platonists head in the opposite direction "truth is not based on sensory experience since the material world is always in flux and thus unreliable. Truth is instead discovered through an internal apprehension, a private world that transcends" (771). Because of this, for our writing instructors, "truth can be learned by not taught" (771). The expressionists then "emphasizes writing as a 'personal' activity as an expression one's unique voice" (772). Berlin objects that, like that neo-Aristotleans, these Expressionists have strayed far from Plato's precepts--"Their conception of truth," he says "can in no way be seen as comparable to Plato's transcend world of ideas." Non of them," he objects "is a relativist...all believe in the existence of verifiable truths and find them, as does Plato, in private experience" (772). Further, although expressivists may encourage freewriting and journaling, they also emphasise workshopping and peer review, practices that, accord to Berlin will "get rid of what is untrue to the private vision of the writer" (773). This peer practice to purify private truths is not about communication to others, to expunge insincerities. There is a very Dead Poets Society vibe to the whole thing. So, to summarize where we end up, the Current-traditionalists who think they are Aristotlean are dropping "personal and social concerns in the interests of the unobstructed perception of empirical reality" while the expressivist Neo-Platonists are finding reality only within and using an audience only as a "check to the false note of the inauthentic" and some lingering true NeoAristotleans or classicalists are emphasizing rational structures and only occasionally acknowledging things like "emotion" (775). Then there is New Rhetoric. You can almost feel Berlin heave a sigh of relief at finding something sensible. "In New Rhetoric the message arises out of the interactions of the writer, language, reality and the audience. Truths are operative only within a given universe of discourse, and this universe is shaped by all of these elements, including the audience" (775). In other words, if Rafeal were painting the school of Athens now, Aristotle might point towards the objective earth and Plato towards the transcendent heavens, but New Rhetoric (personified, let us say, by Berlin himself) would be pointing outwards towards you--towards the viewer and also towards the painter. The writer creates truth, doesn't just discover it in the world or within herself, but actually creates it. And what does that mean for composition? Everything, says Berlin. "In teaching writing we are not simply offering training in a useful technical skill that is meant as a simple complement to more important studies in other areas. We are teaching a way of experiences the world, a way of ordering and making sense of it" (776). And that's why learning theory is important. When you're teaching students to write, are you teaching them to just "write down their observation" about the outside world as though it were uncomplicated? Are you asking them to just "write whatever comes into your mind" about a topic as sincerely and unrestrained as possible? Or are you asking them to create meaning with their audience and, in the same sense with language? I confess that reading this article in 2019, I'm less twitterpated with the idea that people can make up whatever truths they want. Although no one would ever describe themselves as a Current Traditionalist, some of these ideas--writing in the disciplines, using mixed research methods, even including belleliteristic writing seem very comfortable to me. Things have changed since 1983, not least of which is composition theory. And I guess this means that this ccan't be my only podcast on theory. Ah, rats.
Transcribe →The Rise of Writing (Deborah Brandt)
Jan 16, 201900:08:02Tap to summarizeWelcome to Mere R the podcast for beginners and insiders about the people, ideas and movements that shaped rhetorical history. I'm Mary H and if you grew up in the eighties and nineties, like I did, then you might remember a series of posters in your school and public library. Celebrities like Sarah Jessica Parker,A-Rod and, of course, Lavar Burton would be posed with a book, smiling, encouraging you to read. They were all readers, and so should you, because being a reader was a worthy identity. Deborah Brandt, in her decades of interviews with people of all walks of life, found that being a reader had very different connotations than being a writer. Readers were feted, writers were suspect; readers had clubs, writers had isolation; reading was receptive, writing was productive. However, in Brandt's latest book, The Rise of Writing, she finds something changing--our definition of literacy is swinging from readers to writers. The subtitle of her book is redefining mass literacy, and that's just what her interviews reveal--that writing, not reading, is becoming the definition of literacy. She gives a definition of what this looks like: "Writing based literacy is a literacy driven primarily through engagement with and orientation toward writing instead of reading--a literacy that develops by way of emphasizing and embracing the social role of the writer rather than the social role of the reader" (91). Writing-based literacy is necessary as an increasing number of jobs in both the public and private sectors require writing as part of the work. Often the writer-employee is paid as a condition of the employment, rather than given authorial rights. Instead of getting a byline and a royalty credit, people like lawyers and government officials write in the voice of their company or office. As legal voices have claims "once a person is employed to say what she does, the speech usually represent not her own self-expression but, at best, the expression of the employer" (qtd. 23)This is not a small group--More than a third of the writers Brandt interviewed ghost write, usually for their superiors (32-33). These writer-workers must compose with a borrowed identity (48) One government writer says "I try to be a reasonable voice of the institution. I can't got outside my role" (75). However, it's one thing to put off your authorship when writing on the job, but increasingly people associated with organizations must continue to restrict their writing off the job.Brandt says that the government "readily recognized the intimate intermingling of writer subjectivity with institutional mission as the dangerous mix that potentially undermines the government's voice when employees speak out in the public domain and political arena, Yet they remain incurious about how this dangerous mix affects the citizen voices of millions of Americans" (87). "When it comes to writing, people's expressive voices seem inevitably entangled with interests and liabilities of the organizations that employ them--and often cannot be comfortable extricated even off the job" (164). She calls this the "residue of authorship" (27)--the way you change after putting on the writing mask of the job. A writer at a non-partisan agency explains "in terms of our private lives as non-partisan legislative service agency employees, it is made clear to everyone that there are strict boundaries that we cannot cross. You have to agree to this.You are basically giving up your constitutional rights. We discourage any type of external correspondence that would be published anywhere" (82). Writing isn't just an anonymous workplace practice in this new literacy, though. It's also a hyper personalized practice. Brandt interviewed young people about their writing practices and found that writing was actively enjoyed and productive for these young adults the way reading sometimes is. Her so called unaffiliated writers "wrote enthusiastically outside of school...but did not play to pursue careers as writers." (111)--they wrote blogs and raps as "private projects of self-development...they engaged in process of self-authoring by composing texts that they need to read" (114-5) and they wrote from surprising young ages (100)--7, 9, 11...even 2 years old Writing even had a leg up on reading for her interviewees."While learning to read in this society is largely regarded as child's work, learning to write is associated with the adult world, entitling you to experience the arduous arcs, rewards and risks of authorship" (104). They described the value of mentors in their writing who helped them to develop their sense of personhood while strengthening their craft--adult mentors besides teachers who didn't talk down to them, but took their writing as seriously as anyone else's. Overall, "The (a)vocational and commercialized status of writing--a status that makes it different from the other language arts of speaking, listening and reading--proved highly salient to the young people I interviewed" (97) Okay, so How do we teach this new literacy? Some of the young people Brandt interviewed talked about how instead of reading encouraging them to write, their writing led to an interest in (or even a duty of) reading. However, most schools privilege reading over writing Unsurprisingly, Brandt says that school is reading based--especial literature classes--and writing is still very low prestige in schools (163), with its weird extremes--the practical vocational benefits of professional writing and the messy personal practice of writing for self development For schools "the historical affiliation of writing with art, artisanship, craft, vocation, performance, publicity and earning" are "parts of the the human world that have been suppressed in the abstract, symbol-based routines of the school" (166). What would happen if the next generation of literacy was peppered with Posters that say Write instead of read posters? featuring--not just Stephen King and Brandon Sanderson, but Hugh Jackman, Drake, and Stephen Curry. People who write on and off the job, to define their own voice and to merge their voice with others, people who eagerly identified as writers.
Transcribe →The Other Eight Attic Orators: Antiphon
Feb 21, 201800:10:04Tap to summarizeWelcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I'm Mary Hedengren and I'd like you to think a little about the types of writing you've done in the past, oh, let us say, year. If you're anything like me, you've probably written breezy email, stern syllabi, obscure academic texts and pun-based posts on Reddit that didn't get nearly the number of upvotes as they deserve. Now what if a random, oh, say 12% of what you wrote was preserved and no one who knew you was around to testify you wrote it all? What would people think about your writing style? About your history? Would they even know you who were you? This is precisely the mystery behind today's Other Eight Attic Orator, Antiphon of Rhamnus. Like many of us, Antiphon may have written a variety of texts. He was a logographer, one of those professional legal speechwriters, so he probably wrote dozens of defenses for the rich and powerful in his social circle. He also attracted followers and students, so he wrote examples for them, imaginary legal cases with evenly balanced sides and arguments in weighted antithesis. He may have even written a treatise On Rhetoric, but we don't have it, because, remember? Most of your writings--gone. We only have rumor of Antiphon's rhetoric text. He also maybe wrote some abstract sophistic texts, On Truth and On Concord, which sure don't sound like the pragmatic legal texts we know were his. Antiphon also lived in the real world, which, during this stormy period of Athenian politics, included a lot a hairy situations where Antiphon would have to rhetoric for his life. All of this makes it hard to sort out what Antiphon really wrote and what, if any, style you would attribute to him--is he a cut-and-dry type-A arranger like his sample cases sound or did he play fast and loose with the traditional four parts of a speech like his court cases? He looks like both. Take those traditional four parts of a speech--prologue, narrative, proof or argument and epilogue, or in other words, set the stage, tell the story, supply the evidence, and sum it all up. In one speech Antiphon goes on and on in the narrative. Why? Because he's writing a speech for the prosecution and so it's his job to plaint what happened. In this case, it's about a step-mother poisoning a father, so it's a very lurid narrative, too. The step-mother tricks a family's friend's mistress into thinking a poison was a love potion. "When they had finished dinner, ...they naturally began pouring libations...But while Philoneus' mistress was pouring the libations...she was pouring in the drug. And she thought she would be clever and put more into Philoneus' cup, on the theory that if she gave him more, he would love her more. She didn't realize she had been deceived by my stepmother until the evil was already done.... When the men had poured out the libations, each took hold of his own murderer and drank it down--his last drink" (19-21). I mean--wow! That is shocking stuff. Of course the jury wants to hear more of it. The defense's excuses of why she did it is almost irrelevant when there's such a vivid narration. Even though Antiphon says he will "try to relate the rest of the story about giving the drug as briefly as possible," (13) he knows that the story is the most convincing part and aside from this allegation...there's not really a lot of evidence. In fact, not only is the evidence sparse, but the narrative is almost entirely fabricated. How could the plaintiff or Antiphon know what the cloistered women said to each other behind closed doors? How could he know what they were thinking when they poured the drinks? But with such a robust narration section, the argument looks compelling. This kind of playing with the order is seen in extreme cases where he even blends togethers evidence and narration. But this is far from the case of his orderly Tetralogies. These school texts are so orderly that you might even call them...textbook cases. See what I did there? The 1st Tetralogy considers a man and his servent killed in the middle of the night in the street. Were they killed by a common criminal seeking valuable cloaks or by some violent drunk...or was it personal this time? The argument here iis very argumenty, and quite different from "Against the Step-mother": "We know the whole city is polluted by the killer until he is prosecuted and that if we prosecute the wrong man, we will be guilty of impiety, and punishment for any mistake [the jury] makes will fall on us… no one who went so far as to risk his life would abandon the gain he had securely in hand", and yet the victims were still in possession of their property when they were found (4)...and the whole thing goes on like that. Counter supposition and response. It's chock full of evidence and the narration takes back seat, as is more typical. These cases sound very different, even though the cases all involve murder--Antiphon in both the cases he took and the cases his taught seemed drawn to the bloody side of Athenian life. The extant works of Antiphon are littered with the corpses of poisoned, drowned and javelined Athenians. But just as each legal case is different, the arguments needed to defend or prosecute are also different. So what do we make of On Truth and On Concord and, for cryin' out loud, the Interpretation of Dreams? The lawyer-y logographer Antiphon was writing about summary arrest and probablitities, but what about the fragments of the so-called sophistic works? Were these written by "our" Antiphon or some other Antiphon, sometimes named Antiphon the Sophist? What about the Antiphon who squared the circle? It's difficult to say who is who. Because there were only like, a dozen names in the ancient Greek cities, there were other Antiphons about. It could be that these little fragments are Antiphon's weekend work, when he wasn't wading through gutters of blood. But, as Michael Gagarin points out, you write different ways in different circumstances for different audiences ("Introduction" 6). A real court case isn't the same as a textbook example for students is not the same as a purely theoretical exploration. Yet with so much missing, it's hard to say we know Antiphon's full contributions. The sad irony is that this great forensic logographer who has been enshrined as one of the Great Attic Orators wasn't able to win the most important court case of his life--the course case for his life. Although he gave what was later called "the greatest [speech] ever made by a man on trial for his life" he was prosecuted for his role in the coup of the council of 400. Like with much of Antiphon's work, we hear more about his trial's speech than we are actually able to read. Aristotle's Eudemanian Ethics includes expert praise for it as well as the allusion that many others commonly appreciated it. It didn't seem to stem the rage of the Council, though. He was prnounced guilty and not only was treason a capital offense, but his descendants would even be stripped of their inheritance and their citizenship. Most people thus charged slipped out the back way or threw others under the bus, or did both--see our episdoe on Andocides. But instead of fleeing into exile, Antiphon stayed in Athens and was executed. It's likely that after his execution his works weren't exactly broadly disseminated. It wasn't until 1907 that the fragments of Antiphon's defense on the revolution were discovered...badly mutilated papyrus from the 2nd century AD. Kind of a downer ending, so I'm going to end with a quote from someone who knew him, Thucydides , who was Antiphon's student. "Antiphon, one of the best men of his day in Athens; who, with a head to contrive measures and a tongue to recommend them, did not willingly come forward in the assembly or upon any public scene, being ill-looked upon by the multitude owing to his reputation for cleverness; and who yet was the one man best able to aid in the courts, or before the assembly, the suitors who required his opinion."
Transcribe →The Meaningful Writing Project
Feb 8, 201800:07:24Tap to summarizeWelcome to MR the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history It's the start of another semester, which, for me, means a season of wonder. I wonder about who my students will be. I wonder whether my schedule will be crushingly busy. Mostly, though, I wonder how my students will react to the syllabi and assignments that I have lovingly crafted. Will they understand the instructions? Will they learn what I hope they will? Will they find it meaningful? Many compositionists have wondered these same questions and have argued about what kinds of assignments are best for students--digital or analog? Open-ended or directed? Reflective or projective? The authors of the Meaningful Writing Project,Michele Eodice, Anne Ellen Geller, Neal Lerner , had similar questions. But instead of pontificating, they just asked the students themselves. And, boy howdy, did they! They surveyed students at a varied of schools--big state, small private, research and community college--and asked them which (if any) of their writing projects had been the most "meaningful" for them. What they found surprised them, and it surprised me too. The researchers were expecting on finding a small cohort of "meaningful project" professors who had skillfully crafted assignments that were more meaningful to their students, but instead they found that the meaningful projects were scattered across instructors. Some of the instructors were veterans, some were novices; some were full professors and some were adjuncts. There weren't clear patterns in who assigned meaningful projects. There was also no pattern on where these meaning projects were taking place. Meaningful writing projects occurred in big classes and small, required courses and capstones and in no courses at all. This might seem like a null result--what can we say about meaningful writing projects if any sort of instructor can assign them in any sort of class? Again, the answer is in listening to the students. The authors found that these projects focus on the past (students' personal connection and previous experience) and the future (application to the students' sense of their future selves). These projects recognize that education doesn't happen in discrete modules, but builds upon past lived experience and anticipates the classes, jobs and lifestyles students will eventually enter. Almost 70% of the students in the study said that the writing project was related to what they expect to do in the future, usually related to their prospective jobs (41). They said things like ""As a teacher, I must write lesson plans that are creative," "As a physician assistant I will have to write referral letters," and "As a career artist I..must be able to write about my work when I submit it to juried exhibitions" (41). Recognizing connections to their future lives envigorates writing for these students. The past also matters, even when the comparison to the past was uneven. One participant, Leah, described her previous writing experience as "neutral." Leah also gave a good insight into the importance of choice in writing projects.The authors note that the "balance between allow and require once again seems key…[because] Leah's experiences up tot his point were too close to the require end o the continuum with not enough allow" (48). Accordingly, student choice means a lot--encouraging students to delve into personal interest and to feel "invited and encouraged" (133). This is always a hard balance for me too--do I let my students choose to write on whatever topic they want, assuming that they will write with more passion about the topic of their choice? Or do they not have any particular passion yet, and fall back on standard fare: gun control, abortion, illegal immigration. Similiarly, do they lack the content knowledge to know how to approach that topic and will falter, unable to come up with a meaningful area of research? It's not enough just to dump novice students into it--"You decide what to write and how to write it," sounds like agency, but it also sounds like neglect. Instead, the authors say we teachers can "intentionally build optimal conditions for agency to emerge" like directing students to make use of the skills and thoughts that they have developed in and out of the class (53). That's kind of a big deal, not just for a student's writing ability, but for their developing sense of self. As the authors put it, the meaningful projects were "holistic--not merely about content or genre or process but also about mind and body, heart and head--and to act as a kind of mirror in which students see their pasts and futures, enabling them to map those on to their writing projects to make meaning" (107). It's not overstating it to see these meaningful writing projects as meaningful experiences period. Certainly I remember some of the most meaningful projects of my undergraduate life--the time I wrote a platonic dialogue to explain Foucault's theory for my theory class, the long honors thesis where I was able to pursuit my obsession with an obscure Steinbeck novel, the Shakespeare class that allowed me to delve deep into Renaissance concepts of madness. These weren't just fun assignments, but projects that helped develop my sense of what mattered to me. But as I reflect on my undergraduate writing, I'm also impressed by the impact that non-required writing had on me. The sketches I wrote for my comedy group, the impassioned articles for the school opinion paper, the poetry and fiction that I was able to give readings of in the library auditorium. While the authors mention that some of the MWP took place without classrooms, teachers or grades (131) there's not much discussion of those projects. Look, I know that I'm a writing nerd--otherwise I wouldn't end up the host of a show called Mere Rhetoric--but in addition to designing assignments that might be meaningful to students, we can also nurture environments where meaningful writing can take place outside of our classes too.
Transcribe →Steven Mailloux--Rhetorical Power
Dec 11, 201700:06:58Tap to summarizeWelcome to Mere Rhetoric, the podcast for beginners and insiders about the people, terms and movements who have shaped rhetorical history. I'm Mary Hedengren and I've been reading A Christmas Carol this holiday season because I'm playing Mrs. Crachit in a community theatre production. And wow. There is a story behind that. But becaue I was interested in The christmas carol, so I started reading The Man Who Invented Christmas, Les Standiford's history of Dickens's masterpeice. I was surprised to hear how A Christmas Carol had solidified Christmas as we know it, a home-and-family holiday rather than a racacus drunken orgy of disrule. Yeah, Christmas used to be like that. In fact, there was a debate about Christmas raging over several centuries when Scrooge came on the scene. After Dickens, though, industrialists started giving their employees Christmas Day off, and everyone started sending their workers the ubiquitous Christmas turkey. Robert Louis Stevenson, upon reading Dickens's Christmas Carol first cried his eyes out and then committed to donate money to the poor. Even Dickens's best frienemy and critic, William Makepeace Thackery, was deeply moved by it. Dickens's book had, in the words of Lord Jeffrey "fostered more kindly feelings and prompted more positive acts of beneficence" than all the sermons in all the churches pervious. So if literature is so powerful to change the way people live, why isn't it considered rhetoric? That question is probably best addressed in Steven Mailloux (My-U)'s Rhetorical Power. In the book that would in some ways define his career, Mailloux advances a rhetorical perspective of literature that would present a middle ground between idealist and realist literary theory. He calls the exercise of this perspective "rhetorical hermeneutics" which he suggests as an "anti-Theory theory" that will "determine how texts are established as meaningful through rhetorical exchanges" (15). It isn't just the content or, to use the old fashioned phrase, "theme" of a book that impacts people, but the way the story is drawn through, and the techniques that the author gets us to buy into. Such a reading differs wildly from the notions of New Criticisms that would restrict interpretation to the page and from even Stanley Fish's narrow academic interpretative community. Instead, the work is rooted in a specific history, rhetorical tradition, and cultural conversation (145-6). We can be impacted by 19th century books, but not the in same way that Lord Jeffrey and Stevenson were. There are conversations going on and arguments made in the book catalogs of any culture. Mailloux claims that this perspective is not only engaged in the world outside the text, but also describes the temporal experience of reading. In this way, literature exits circles of elite academic interpretative communities and instead belongs to the community of readers at large. The text has an individual influence as well. Mailloux describes how a text can educate a reader (41) and train the reader to see and think a certain way as the text progresses (99). This education depends on the form of the work, how the work develops from premise to premise. Moby Dick is Mailloux's main example of this kind of trained reading. The disappearing narrator through chapters isn't just an error; it's an education. In this way, rhetorical hermeneutics seem to draw on both Kenneth Burke's discussion of form in Counter-statement and Wayne Booth's concerns about immoral narration in The Rhetoric of Fiction. While Mailloux uses Moby Dick as his primary example of the education of the reader within the pages of a book, he spends more time discussing the way that a text's educating qualities relate to a community's debate, and what better example could he use than The Adventures of Huckleberry Finn? In Mark Twain's book, Mailloux has a prime example of the way a work "includes rhetorical histories of interpretative disputes" (135). Because of the way Twain's work was part of the national debates of the "Negro Question" and the "Bad Boy Boom," it can clearly demonstrate a reading that prioritizes not the "isolated readers and isolated texts" but the entire "rhetorical exchanges among interpreters embedded in discursive and other social practices at specific historical moments" (133). We often think of Huckleberry Finn in terms of race only, because that's the predominant issue from the book for our culture, but the issue of "bad boys" was even more pressing on Twain's contemporaries, which may seems a shocking undersight to modern readers. Huckleberry Finn was originally banned from some schools and library for showing a bad boy getting away with rebellion. Mailloux demonstrates that there were many pieces of literature of all sorts discussing what to do with juvenile delinquent boys, and Twain's contribution in the unintentionally humane and thoughtful Huckleberry was a response to, and instigator of, some of the alarm. Moving from Mark Twain, Mailloux applies his theory to contemporary political disputes, demonstrating that this kind of reading practice isn't exclusive to formal literature. So we come full circle. Literature participates in a wider societal conversation, and our political conversations can benefit of a reading as intense as the one we give to literature. As Mailloux says "textual interpretation and rhetorical politics can never be separated" (180). So if you do a little light reading this holiday break, you might take a moment and wonder, what, exactly, are the political implications of what you're reading. If you found a deeper level of rhetorical discourse in your holiday reading, why not drop us a line at mererhetoricpodcast@gmail.com? This is Mary Hedengren, ruining your vacation from Mere Rhetoric.
Transcribe →Inventing the University--David Bartholomae
Nov 14, 201700:07:36Tap to summarize[intro] Welcome to MR the podcast for beginngs and insiders aboutt he ideas, people and movements who have shaped rhetorical history. I'm Mary Hedengren. This last week I graded my students' rhetorical analyses. For many of them, this was the first time they had been asked to write a rhetorical analysis and this assignment always makes me nervous. I give them sample papers. We practice writing a rhetorical analysis together. We discuss in depth examples and abuses of ethos, logos, and pathos, but many of them struggle tremendously. I know I could write a 3-page rhetorical analysis in 20 minutes; why do my students take hours and still fail the project? David Bartholomae wondered, as I do, how students approach projects they've never been asked to weigh in on before. In my students' case, they just barely learned what "ethos" is--how are they supposed to assert how it impacts a particular audience? Writing in the early 80s, Bartholomea, like a score of composition scholars like Mina Shanessey and Linda Flower, were interested in the needs of a population sometimes called Basic Writers. Basic writers are those who, in Bartholomae's words "shut out from one of the privileged languages of public life" in academic writing, although they are "aware of, but cannot control" that language (64). Not having been exposed to reading or writing much of it, they must fall back on what they think academic writing is supposed to sound like. They have to invent what "university writing" is. This is where you have all those errors that make your students sound like robots on the fritz: "utilization," "the reason for this is because that," and endless "therefore"s. It impacts big-picture ideas, too. B mentions that commonplaces that many students fall back on: "mistakes are because of a lack of pride," "creativity is self-expression," "the text you assignment to read was life-changing and insightful, o teacher mine!" This is where we roll our eyes and feel slightly manipulated, but the students aren't being malicious when they try to give us what we want--they're simply not confident at being able to give us what they want, too. And every time the task changes, students can find themselves flummoxed. "A student who can write a reasonably correct narrative may fall to pieces when faced with a more unfamiliar assignment," Bartholomae points out. A student can write smooth, error-free prose in a form that makes sense to them, but asked to assume new authority, and they panic in the new register. And who can blame them? They've never encountered it before. Imagine being asked to give a public speech in Japanese without knowing the language. Bartholomae's students were exposed to many of the same forms ours are "test-taking, report or summary--work ...where they are expected to admire and report on what we do" (68). Certainly I saw that in the rhetorical analyses I read. The background research on the author was good, relevant and cited appropriately. The articles were summarized fairly, with occasional quotes from the text. But when I ask them to apply their knowledge of rhetorical terms to argue how the articles were working and they fall to pieces, just as Bartholomae says. Many of them have never been asked to defend their own scholarly opinion or assert another's through conjuncture. They can't possibly make a scholarly argument, so instead they are made by it. They put on a mask of "scholar"--"They begin with a moment of appropriation, Bartholomae says, "a moment when they can offer up a sentence that is not their as though it were their own" (69). But students who are outside of the academic discourses they write also recognize that it is not fair that they have to be outsiders. Even when they are given supposedly non-academic discourse to write-- "explain kairos to a classmate"--students are thrown into assumed authority: how on earth would they explain kairos--they just learned about kairos! They don't know anything more about kairos than anyone else in the class! It is, in Bartholome's words "an act of aggression disguised as an act of charity" (65). Being put into a position of insider to which they beleive they have no claim, some students doggedly imitate while others also subtly criticize. "The write continually audits and pushes against and language that would render him [or her] 'like everyone else' and mimics the language and interpretative systems of the privileged community" (79). What is the solution then? Bartholomae suggests that we meet students on the grounds of their own authority--instead of encouraging them to give tidy, pat answers that imitate what they think the professor is looking for, "well within safe, familiar territory" (80). This can seem quixotic, especially when a grade is on the line. While Bartholomea doesn't give a comprehensive solution, but he does mention the work of Particia Bizzell and Linda Flower as useful starting points--determining, for example, what the conventions of the discourse community to teach them explicitly. This can mean anything from pointing out the expectations of MLA citation to providing templates of academic discourse. Another strategy is to look broadly at where students are all falling short together--is everyone falling back on summary instead of moving into analysis? Is everyone asserting the opinion of the audience without reasoned conjecture? Seeing where students depart, like a big-picture Error and Expectation, can give insight into where students feel uncomfortable acting as insiders. Because, no matter how frustrated we get when we grade student work, they aren't dum-dum heads who didn't understand anything that we taught them. They're paying attention--they're writing the way that they think we want them to write and the way that they think we write. Batholomae, however, wants to to consider they way they write and what they want to write about.
Transcribe →Halloween special: Freud, the Uncanny and "The Sandman"
Oct 25, 201700:23:06Tap to summarizeWeeeeellllcommmme to Meeeeeereeee Rhetoooooric! It's our annual Halloween episode, which means a little bit of the people, ideas and movements who have shaped rhetorical history, but mostly a ghost story. This year, we're going with our first not-MR-James story. Don't worry--there are still intials--but first--to business. If you're going to talk about ghost stories and influential thinkers, you won't dig long until you come across Freud's contribution, a little piece called "The Uncanny." You might not peg Sigmund Freud as a connoisseur of boogeymen, but he was capital-f freaked capital-o out by ETA Hoffmann's story "The Sandman." If Hoffmann's name sounds familiar, it's probably because you know him from writing the story of the Nutcracker ballet. Look at that--our annual tradition here at Mere Rhetoric just founds 3-degrees of separation to every ballet company's annual tradition! Anyway, the Sandman is a freaky sci-fi horror tale that eventually inspired another ballet called Coppelia. The original is even more terrifying. Don't worry--it's coming up after we talk about Freud. Right now all you need to know is that the line between reality and madness is thin, thin and shaky. Freud was, as you might expect, very into that. He draws heavily on a German pun--evidentally heimlich means both homey or familiar and secret or hidden. In terms of the uncanny, things are most terrifying when we think we're playing in the realm of our daylight reality and then suddenly the rules change. No one, for example, is horrified when Snow White RISES FROM THE DEAD, because we already are accepting that we're in a fairy tale with, like, singing animals who do housework. As Freud says, ""as soon as it is given an arbitrary and unrealistic setting in fiction it is apt to lose its quality of the uncanny" (19). And what are these eerie occurances? Because Freud is a master classifier, they can be split across "either when repressed infantile complexes have been revived by some impression, or when the primitive beliefs we have surmounted seem once more to be confirmed (17)--so he believes either the terrors of childhood or of primitive man resurface in our horror stories. The parts of us that we repress resurface as ghosts and witches and we confront them in physical manifestations separate from us. For example, the supernatural power of, like, a giant or a firestarter, relates to our own narcissistic impulses to dominate others. Freud goes through and gives a catalogue of things that are uncanny: dismembering the double living dolls repetition (like seeing the same number all day) evil eye ghosts witchcraft madness As you listen to this year's Halloween episode, The Sandman, you can point out where these pop up--see if you can get Uncanny Bingo! NATHANEL TO LOTHAIRE Certainly you must all be uneasy that I have not written for so long - so very long. My mother, am sure, is angry, and Clara will believe that I am passing my time in dissipation, entirely forgetful of her fair, angelic image that is so deeply imprinted on my heart. Such, however, is not the case. Daily and hourly I think of you all; and the dear form of my lovely Clara passes before me in my dreams, smiling upon me with her bright eyes as she did when I was among you. But how can I write to you in the distracted mood which has been disturbing my every thought! A horrible thing has crossed my path. Dark forebodings of a cruel, threatening fate tower over me like dark clouds, which no friendly sunbeam can penetrate. I will now tell you what has occurred. I must do so - that I plainly see - the mere thought of it sets me laughing like a madman. Ah, my dear Lothaire, how shall I begin ? How shall I make you in any way realize that what happened to me a few days ago can really have had such a fatal effect on my life? If you were here you could see for yourself; but, as it is, you will certainly take me for a crazy fellow who sees ghosts. To be brief, this horrible occurrence, the painful impression of which I am in vain endeavoring to throw off, is nothing more than this - that some days ago, namely on the 30th of October at twelve o'clock noon, a barometer-dealer came into my room and offered me his wares. I bought nothing, and threatened to throw him downstairs, upon which he took himself off of his own accord. Only circumstances of the most peculiar kind, you will suspect, and exerting the greatest influence over my life, can have given any import to this occurrence. Moreover, the person of that unlucky dealer must have had an evil effect upon me. So it was, indeed. I must use every endeavor to collect myself, and patiently and quietly tell you so much of my early youth as will bring the picture plainly and clearly before your eyes. As I am about to begin, I fancy that I hear you laughing, and Clara exclaiming, 'Childish stories indeed!' Laugh at me, I beg of you, laugh with all your heart. But, oh God! my hair stands on end, and it is in mad despair that I seem to be inviting your laughter, as Franz Moor did Daniel's in Schiller's play. But to my story. Excepting at dinner-time I and my brothers and sisters used to see my father very little during the day. He was, perhaps, busily engaged at his ordinary profession. After supper, which was served according to the old custom at seven o'clock, we all went with my mother into my father's study, and seated ourselves at the round table, where he would smoke and drink his large glass of beer. Often he told us wonderful stories, and grew so warm over them that his pipe continually went out. Whereupon I had to light it again with a burning spill, which I thought great sport. Often, too, he would give us picture-books, and sit in his arm-chair, silent and thoughtful, puffing out such thick clouds of smoke that we all seemed to be swimming in the clouds. On such evenings as these my mother was very melancholy, and immediately the clock struck nine she would say: 'Now, children, to bed - to bed! The Sandman's coming, I can see.' And indeed on each occasion I used to hear something with a heavy, slow step come thudding up the stairs. That I thought must be the Sandman. Once when the dull noise of footsteps was particularly terrifying I asked my mother as she bore us away: 'Mamma, who is this naughty Sandman, who always drives us away from Papa? What does he look like?' 'There is no Sandman, dear child,' replied my mother. 'When I say the Sandman's coming, I only mean that you're sleepy and can't keep your eyes open - just as if sane had been sprinkled into them.' This answer of my mother's did not satisfy me - nay, the thought soon ripened in my childish mind the she only denied the Sandman's existence to prevent our being terrified of him. Certainly I always heard him coming up the stairs. Most curious to know more of this Sandman and his particular connection with children, I at last asked the old woman who looked after my youngest sister what sort of man he was. 'Eh, Natty,' said she, 'don't you know that yet? He is a wicked man, who comes to children when they won't go to bed, and throws a handful of sand into their eyes, so that they start out bleeding from their heads. He puts their eyes in a bag and carries them to the crescent moon to feed his own children, who sit in the nest up there. They have crooked beaks like owls so that they can pick up the eyes of naughty human children.' A most frightful picture of the cruel Sandman became impressed upon my mind; so that when in the evening I heard the noise on the stairs I trembled with agony and alarm, and my mother could get nothing out of me but the cry, 'The Sandman, the Sandman!' stuttered forth through my tears. I then ran into the bedroom, where the frightful apparition of the Sandman terrified me during the whole night. I had already grown old enough to realize that the nurse's tale about him and the nest of children in the crescent moon could not be quite true, but nevertheless this Sandman remained a fearful spectre, and I was seized with the utmost horror when I heard him once, not only come up the stairs, but violently force my father's door open and go in. Sometimes he stayed away for a long period, but after that his visits came in close succession. This lasted for years, but I could not accustom myself to the terrible goblin; the image of the dreadful Sandman did not become any fainter. His intercourse with my father began more and more to occupy my fancy. Yet an unconquerable fear prevented me from asking my father about it. But if I, I myself, could penetrate the mystery and behold the wondrous Sandman - that was the wish which grew upon me with the years. The Sandman had introduced me to thoughts of the marvels and wonders which so readily gain a hold on a child's mind. I enjoyed nothing better than reading or hearing horrible stories of goblins, witches, pigmies, etc.; but most horrible of all was the Sandman, whom I was always drawing with chalk or charcoal on the tables, cupboards and walls, in the oddest and most frightful shapes. When I was ten years old my mother removed me from the night nursery into a little chamber situated in a corridor near my father's room. Still, as before, we were obliged to make a speedy departure on the stroke of nine, as soon as the unknown step sounded on the stair. From my little chamber I could hear how he entered my father's room, and then it was that I seemed to detect a thin vapor with a singular odor spreading through the house. Stronger and stronger, with my curiosity, grew my resolutio...
Transcribe →Engaged Writers & Dynamic Disciplines Podcast
Oct 18, 201700:07:44Tap to summarizeWelcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. I'm Mary Hedengren and every semester, I feel like it's New Year's Day. "This semester," I say, "everything's going to be different." I revise my classes, everything from switching two minor assignments to rehauling the entire curriculum. I try to create assignments that will catch my students' attention, prepare them for their other classes, and, because I teach dozens of students, be interesting to grade. But how do I know if the assignments I find interesting are effective? Or even that the students will think they are interesting? In Engaging Writers and Dynamic Disciplines, Chris Thaiss and Terry Zawacki explore how students learn to write in their majors, and how instructors write in their disciplines. These two things are not synonyms. Disciplines are dynamic, even before you account for all of the interdisciplinary work that goes on between them. Thaiss and Zawacki interviewed scholars from across a wide variety of disciplines and found that "many of our informants describe changes in their disciplines that allow scholars to work in alternative ways--ways that might formerly have been closed to them" some of these scholars are hesitant about these new ways of writing, but many embrace them (44). I remember the first time I wrote an article that was truly alternative. It was an article for Harlot about the biopower of zombies and I referenced everything from Foucault to World War Z to Joshua Gunn. I wrote about my personal experience dressing up like a zombie for a "capture the flag" 5k and about buying a shirt off Etsy. And the whole thing was littered with hyperlinks and quirky footnotes and a half dozen pictures, which cost the journal nothing because the whole thing was exclusively online. This was a far cry from the time I literally sent three copies of an article in a manila folder, through the mail, to England for a more traditional journal. I'm not the only one who has had such exhilarating experiences encountering disciplinary writing in new ways. Because we remember the heady rush of talking about scholarly topics in slightly less than scholarly ways and the sheer joy of doing something new and "fun," we might be tempted to assign these new forms of writing to our students, to show them the great diversity of our discipline. If I was able to write the first draft of "The Biopower of Zombies" in one sitting, chuckling to myself in an airport terminal in Ohio, certainly my students would also delight in such open forms of scholarship, right? According to Thaiss and Zawacki's research, "the undergraduate students we interviewed and surveyed from across majors showed much less desire to experiment with format and method in their disciplinary classes than to conform to their professors' expectations" (92). It's maybe not surprising that scholars who are already pretty familiar with their field would have an easier time adapting to the variations than students who are just learning the ropes for the first time. But not all "alternatives" are equal. Experimenting with new ideas (eg "Is our obsession with zombies a result of increased non-state organizations?") is different than having to learn a new format (e.g. casual academic tone with generous hyperlinks). Over all, Thais and Zawacki suggest, that students crave structure and predictability, knowing what the professor is looking for, even more than the wide-open freedom of many disciplines. Think about it: the seasoned professor knows not just what's appropriate in biology or economics writing, but they also know what kinds of articles can be written by post-docs and what can be written by old-timers, they know what kind of writing different journals prefer. So professors, thinking about "good writing" can actually be combining academic, disciplinary, subdisciplinary and personal writing preferences in ways that baffle students. Sometimes they over generalize and assume that one class taught them "science writing" and sometimes they over patictularize, thinking that one teacher was just "picky." Students do the best they can with the limited expereince they have. This is especially evident at the beginning of the semester. One of Thaiss and Zawacki's student informants pointed out that the first couple of assignments provide a lot of experience in what the class is supposed to be (125), and getting graded feedback provides a sense of not just what that professor is looking for, but what "counts" in the field. While "the mature writer in a field has encountered a sufficient range of course environments to develop an over all sense of disciplinary goals and methods" while novices "have not yet encountered the array of exigencies and therefor genres that typify it" (109). Following Perry's developmental stages, Thaiss and Zawacki suggest three stages in disciplinary writing: When a writer with experience in very few course" comes up with generalized 'rules' When the writer encounters many different instructors and perceives inconsistency, which is "sometimes interpreted as teacher idiosyncrasy" (110) A writer reaches an "articulated, nuanced idea of the discipline" (110). Over all, it's not surprising that Thaiss and Zawacki conclude that students need both frequent writing in a variety of teachers and courses (in order to encounter that variety of a discipline) and the change to reflect on the choices they've made and why to begin to process how those differences occur (121). Other prescriptions are include frequent and detailed feedback on writing, and explicitly teaching what are the "generic academic" principles of writing and what are discipline specific. None of these are radical sounding to those of us in composition, but they do remind me of all the things I need to change next semester. Next semester. Next semester everything's going to be different. If you ever had a book inspire a change in your teaching, feel free to drop us a line at mererhetoricpodcast@gmail.com I'd love to hear it. Until next week!
Transcribe →The Other Eight: Andocides
Oct 11, 201700:07:15Tap to summarizeAndocides (An-DOS-id-dees) Do you remember in the 90s when there was this huge "thug life" thing going on? Shady types getting money doing shady things. Andocides, the 5th century BCE rhetor, would have fit fell into that world. Even though he may have been acquainted with Socrates, he was more interested in roving with his friends of rabble-rousers. He was born to wealth and lived as what one editor called "a hot-headed young man-about-town with more money than sense" (321). His carefree life came to a hard stop after a significant act of vandalism. Andocides was accused of multition of the Herms right before an Athenian expedition against Sicily--exactly not the time that you want to get the gods mad at you. Everyone was shocked. The act was seditious and blasphemous. Athens could forgive some offences, but not parodying the most intimate religious beliefs on the eve of war. The act was seen as an affront against democracy from exactly the kind of rich snobs who would want to consolidate power. Numbers of the stone images of Hermes were mutated across Athens in one night. Just as quickly, informers sprang up to place the blame. Forty two members of the riotous party were named. Andocides was one of the accused. But when they threw Andocides into prison, he did what all those 90s gangsters warned about--he turned snitch. He revealed the names of everyone who was involved, and, although he was an accomplice, he was still exiled from Athens and had his citizenship stripped from him. It turned out worse for the four men that he snitched on--they were all put to death. But if you're a young man of wealth, a little thing like state-defying vandalism and sending four people to their deaths doesn't get you down. He traveled the city states of Greece, making friends with powerful people. Powerful and shady, but powerful. Andocides came back to Athens during the oligarchy and it didn't go well--he narrowly missed being sentenced to death and was imprisoned. Later, he was set free, or maybe he escaped. The historical record is hazy on that detail. So you can see the kind of life that he lived. And it reflects in his greatest speeches. On His Return was written as an attempt to get back into the city's good graces. The reasons for his exile was fresh in their minds, and he openly admits his guilt. He claims to be a changed man: "my behavior today," he says "is much more in keeping with my character than my behavior then" (26). He had been foolish and he had been unlucky--dreadfully unlucky. "No one came near suffering the sorrows which I suffered" (9). However, he points out, he is rich. That wealth can bring in a lot of corn to prevent famine. It also buys a lot of naval support. And he is willing to use his wealth to help Athens. "I have been reckless of both life and goods when called up" in an effort "to render this city such a service as would sipose you to let me at last resume my rights as your fellow" (10). Unfortunately, Andocides' bad luck continued. Before he even began his speech, people were muttering against him. It might not help that he smugly referred to his accusors as "either the most stupid of mankind or the worst of public enemies" (1) and preemptively said that he would forgive the people all the wrongs he suffered (27). He still comes across as a rich snot weasling his way back. Andocides did finally get back to Athens under a general amnesty after yet another political overthrow. For 3 years, everything was coming up Andocides. He held important roles in political cultural life. His influence was growing and everyone was forgetting his youthful indescretions. And then enemies old and new began to circle. Callias II, along with some others, created a legal case against him, arguing that the amnesty shouldn't have applied to Andocides and that he should be kept out of the assembly and, oh yeah, how about put to death for rebellion? While he again had to confront the ghosts of his past,Andocides had some advantages this time. For one thing, time had passed. People had moved on and forgotten much of the outrage they felt in the several political upheavals they had been suffering since then. Also, Andocides had become a productive member of society, totally supporting the city in many facets. It seems that Andocides had also learned to temper his rhetoric. "On the Mysteries" was a plea for his life, but it's also a thrilling piece of legal rhetoric. He refutes claims that he was involved in other acts of blasphemy and sedition and recalls his very minor role in the destruction of the herms. He also changes tactic from deigning to absolve Athens of the wrongs they had done him to emphasizing Athen's positive qualities. "The whole of Greece," he says "thinks that you have shown the greatest generosity and wisdom in devoting yourselves, not to revenge, but to the preservation of your city and the reuniting of its citizens...do not change your ways" (140). He calls on his family heritage "Our house is the oldest in Athens," he says, "and has always been the first to open its doors to those in need" (147). He even makes the people of Athens his family: "It is you who must act as my father and my brothers and my children. It is with you that I seek refuge. It is to you that I turn with my entreaties and my prayers. You must plead with yourselves for my life, and save it" (149). Wow--you see what he did there? He recruited the jury to be his advocates. It's powerful stuff and it went a lot better than "On the Return"--maybe time and circumstances have changed, but I think Andocides also became a more savvy speaker. "On the Mysteries" is a whole lot less cocky and more compelling than on the return. The verdict was in his favor and after that no one dragged up Andocides' youthful thug life. If you have a favorite ancient rhetorician gangster, why not tell us about it at mererhetoricpodcast@gmail.com ? I love hearing from listeners, even if they're snitching on ancient Greek thinkers.
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