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Form and Genre: Shaping Rhetorical Action

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Form and Genre: Shaping Rhetorical Action , DOCUMENT RESUME ED 151 893 CS 502 046 , 0 , AUTHOR Campbell, ,Karlin Kohrs, Ed.; Jamieson, Kathleen 'Hall, Ed. TITLE Form and. Genre: Shaping Rhetorical Action. INSTITUTION Speech Communication AssociatiOn, Falls Church, Va. PUB DATE 78 NOTE. 181p. '4 AVAILABLE FROM Speech Communication Association, 5205 Leeiburg Pike, Falls ChurCh, Virginia 4.95 member, $5.50 'non-member) EDRS PRICE IF-40.83 Plus Postage. BC Not Available from IDRS.:- DESCRIPTORS ,.Composition (Literary); Composition Skills (Literary).; Essays; *Expository,eriting; Higher Education; *Literary Analysis; Literary Genres; *Literary Styles; *Persuasive Discourse; *Theoretical Criticise ABSTRACT The introductory essay of this book states that the value of formal and generic analysis must be tested heuristically, in application. With that value as the keynote to the essay collection, the theoretical perspectives of tore andAente in rhetorical criticism are disdussed, and five Critical essays give evidence of the constraints and creative options that a focus on fcr and genre can present. The final essay comments on the tive critical essays-in the contest of the theoretichl perspectives that vere,initially discussed. (RL) **************************.***********************0***!***4*****e*******. * Reproductions supplied by:EDISare the best that can be, fade * * from the original dodunent. * ****?,*****************************************************.*********** '7 .. 7 . U S 0 AAAAA maver-HeALTH, EDUCATION $ WELFARE NATIONAL INSTITUTE OA EDUCATION THIS DOCUMENT HAS BEEN REPRO DUCED EXACTLY AS RECEIVEDFROM THE PERSON OR ORGANIZATION ORIGIN. *TING IT FONTS OF VIEW OR OPINIONS STALED DO NOT NECESSARILY REPRE SENT OFFICIAL NATIONAL INSTITUTEOF EDUCATION POSITION, OR POLICY J Form and Genre Oaping Rhetorical Action Edited and with an introductory essay by Karlyn Kohrs Campbell Kathleen Hall Jamie'son Contributors: Edwin Black Ernest G. Bormann * *.* Ronald Carpenter * * Bruce Gronbeck * Stephen Michael Halloran.** James.Scott Measell * * * Herbert Simons publication of The Speech Communication Association 5205 Leesburg Pike Falls Church, VA 22041 PERmissioN TO REPRODUCETINS MATERIAL IN MICROFICHE ONLY HAS BEEN GRANTED BY Speech Communication Association TO THE EDUCATIONAL RESOURCES' INFORMATION CENTER (ERIC) AND USERS OF THE ERIC SYSTEM" A xt 2 I. 4 ACKNOWLEDGEMENT 1 his volume exists becatise the Research Board of the Speech Com- munication Association encouraged the study of form and genre in rhe- torical criticism and allocated funds for a conference to stimulate thinking and research in this area With additional support from the University of Kansas, a conference' was held in June, 1976, at Lawrence, Kansas,on 'Significant Form' in Rhetorical Criticism " The call forpapers stated: ''The phrase 'significant form' is intended to refer torecurnng patterns in discourse or action including, among others, the repeatfduse of images, metaphor, arguments, structural arrangements, configurations of lan- guage or a combination of such elements into what critics have termed 'genres' or 'rhetorics' The essays by Carpenter, Gronbeck, Hilloran, Measell, and Simons were competitively selected to be presentedat the conference. The essays. by Bormann and Campbell and Jamiesonare responses to the conference deliberations. We thank all of the authors for their cooperation and Oromptness m-preparing theessays for publication. We particularly aporeeiate the contribution mace by Ernest Bormann We and all the; onference participantsowe pecial debt to Edwin Black who set the.ey note' with his paper and improved the quality of the deliberations thriitfgh his comments as the conference critic We thank Dennis Gourari of the Research Board andour guests, Hermann Stelzner and Michael Leff, for their insightful contributions to our discussions. We thank the faculty and students at the University of Kansas who made the conference a success. We appreciate the special effortson ourbe- half made by Donn Parson and Bobby Patton,,and themany contributions of Chdck Kauffman, conference factotum and'research assistant. We thank Carroll Arnold and Wayne Brock nede for their help in select- I ing the conference participants; We thank Robert Scott for that and for his perceptive comments on the first draft ofthe introductory essay. Finally, we thank Paul Campbell and Bob Jamiesonwho encouraged us and did the many small things that gave us the time to workon this. togetVr. They are, truly, "helpmeets" 4 1 Karlyn Kohrs Campbell / Kathleen HallJamieson a / c TABLE OF CONTENTS ITheurencal Pe rspec till> s "Form and Genre in Rhetorical Criticism An Introduction" 9 - - Karlvn Kohrs Campbell and Kathleen Hall Jamieson *Genre-alizing' About Rhetoric A Scientific Approach" 33 --Hybert W Simons "Generalizing About Significant Form Science and Hiimanism Compared and Contrasted- 51 --Ernest Borrnann II ,Crttiques ".The Sentimental Style as Escapism, or The Devil With Dan'l Webster- 75 --Edwin Black "A ComparatRe Study of Prime Minister William Pitt and President Abraham Lincoln on Suspension of HabeasCorpus- 87. --James Measell "The Historical Jeremiad as Rhetorical Genre 1031 -Ronald Carpenter ...... .,. "Doing Public Business in 'Public- 118 - Michael Halloran ., "Celluloid Rhetoric On Genres of Documentary- 139 --Bruce Or'onbeck . , 4 III .A fterword . "Rhetorical Criticism and Significant Form A Humanistic Approach" 165 --Ernest Bormann , 4 4. Theoreti cal Perspectives FORM AND GENRE IN RHETORICAL.CRITICISM: AN ITROLAJ.CTION KARIN \KOH'RS CAMPBEI I KATHLEEN HALL JAMIESO\ On the night of July 12, 1976, Representative BarbaraJordan of TexAs electrified the Democratic convention witha keynote address that began with these words It was one hundred and forty-fouryears ago that members of the Democrats Party first met in convention to selecta presidential candidate Since that time, Democrats have continuedto convene once ever,y four years and draft a party platform and nominatea presidential candidate And our meeting this weepis a continuation of that tradition But there is something different about tonight, thereis something Special about tonight What is different'' Whatis specipl 9 I, Barbara` Jordan, am a keynote speaker ' At that moment, for hundreds of black and femaledelegates and for millions of other listeners, she embodied the idea she expressedin the next paragraph. "And I feel tat, notwithstanding thepast, my presence here is one additional piece of Evidence that the American dream needpot forever be deferred She herself' was the proof of the argument shewas,making. Many critics who watched and heard her speak will haverecognized a recurrent rhetorical form, a reflexive form, a form called "enactment"'in which the speaker incarnates the argument' is the proofof the truth of what is said And if one recognized the form,one understood the force of her speech, oh knew why,het wordswere greeted with sustained applause. "Critics who have studied keynote addressesat national nominating conventions also recognized that thiswas a typical example of that kind of speech' She set the. "key note", establisheda basic theme intended to. 5 9 rejuvenate the faithful and attract all Americans. She contendedthat theDemocratit party was the best ava4able means through which the American dream could be realized. Withthe exception of the reflexive form used at the beginning and the end, and the self-conscious awareness of the rhetorical options available to a keynoter ("I could easily spend this time, praising the accomplishments of this Party and attacking the record of the RepublicansI do. not choose to do that. I could list the many prob- 1 lems which cause people to feel cynical, frustrated, and angry. Hiving described these and other problems, I could sit down without offering any sorutionsI do not choose to do that either."), this was a rather ordinary keynote that, like many others, returned to basic principles; in Jordan's case, the emphasis was on constitutional principles, a subtle echoof Ur opening speech in the House JudiciaryComAittee debate on articles of impeachmentIn fact, the student of keynoteaddresses will be able tin predict, we think accurately, that this speech wanot be memorable except as a speechgiven byBarbara Jordan Why was Jordan's speech somewhat disappointing to thosewho were deeply moved by the opening statements? The explanation is Most easily made if one compare& her keynote address to a rhetorical act that fulfills IA.... the promise of the reflexive form more fully' Like Barbara Jordan,thenarrative persona of Virgibia Woolf's A Room of One's Ownembodies the position she is arguing More specifi- cally, the author creates an imaginary woman, Shakespeare's sister Judith, who embodies allthe dead women poets 'whose talents have been destroyed Like Sbakespeare, we are told, she was greatly gifted. To avoid early marnage to a neighboring wool-stapler, she ran away to London to seek her fortune in the theatre Unlike S,hakespeare, she could 'livid no outlet for her talents ('"awoman acting is like a dog dancing.. "). FiIly, the actor-manager Nick Green pities her(and takes herin:she findserself with child; kills herself, and is buried at an obicure crbssroads. AX the end of the book, the reflexive fbrrns of the narrator and of ShakesP.,tite's sister Judith come together. / Now my belief is that this poet who never wrote a w rd and was buried at the crossroads still lives She lives in you a in me, and in many other women who are not'here tonight, for Ott are washing up the dishes and putting the children
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