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The Mad Rhetoric: Toward a Rigor on Radical Creativity and Its Function in Consciousness As a Communicative Principle

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The Mad Rhetoric: Toward a Rigor on Radical Creativity and Its Function in Consciousness As a Communicative Principle California State University, San Bernardino CSUSB ScholarWorks Theses Digitization Project John M. Pfau Library 2007 The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle Eugene David Hetzel Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd-project Part of the Speech and Rhetorical Studies Commons Recommended Citation Hetzel, Eugene David, "The mad rhetoric: Toward a rigor on radical creativity and its function in consciousness as a communicative principle" (2007). Theses Digitization Project. 3293. https://scholarworks.lib.csusb.edu/etd-project/3293 This Thesis is brought to you for free and open access by the John M. Pfau Library at CSUSB ScholarWorks. It has been accepted for inclusion in Theses Digitization Project by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. THE MAD RHETORIC: TOWARD A RIGOR ON RADICAL CREATIVITY AND ITS FUNCTION IN CONCIOUSNESS AS A COMMUNICATIVE PRINCIPLE A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in Communication Studies by Eugene David Hetzel June 2007 THE MAD RHETORIC: TOWARD A RIGOR ON RADICAL CREATIVITY AND ITS FUNCTION IN CONCIOUSNESS AS A COMMUNICATIVE PRINCIPLE A Thesis Presented to the Faculty of California State University, San Bernardino • by Eugene David Hetzel June. 2 007 Approved by: 4- P-o7 Robin Larsen, Chair, Communication Studies Date Copyright 2007. Eugene David Hetzel ABSTRACT This thesis proposes a theory of "mad rhetoric" and the role "radical creativity" plays in the construction of mad rhetorics by "mad rhetors." This thesis explains the root process through which the mad rhetor takes a unique germ of an idea in their own psyches, or a chora, and transforms or "maddens" them into radically creative ideas and concepts. In turn, this thesis explains how the mad rhetor "wraps" their radical creativity into a form that . belongs to a known creative genre or technical tradition that others can appreciate. This thesis then explains the qualities of mad rhetorics, as well as the roles mad rhetors and their mad rhetorics play in society. This thesis also works to contradict a misconception within the literature that links mental illness with creativity. By offering mad rhetorical theory as an alternative method to assess mad rhetorics with, I suggest a model that stresses qualities inherent within the mad rhetoric that are demonstrative of the influence of the mad rhetor's radical creativity. This thesis also explores three separate creative works as examples of different forms of mad rhetorics as a way in which to demonstrate the application of this theory using established critical frameworks. These texts include: the short story "The Music of.Erich Zann" by H.P. Lovecraft; the film Eraserhead by David Lynch; and the Self-Portrait (blue), September 1889 by Vincent Van Gogh. This thesis then concludes with a discussion of further possibilities for research using this theory. iv ACKNOWLEDGEMENT S I would like to acknowledge the assistance and support of my graduate coordinator Dr. Robin Larsen. Her editorial expertise and guiding hand proved invaluable to this effort, as did her willingness to allow for the new ideas I proposed. I would also like to acknowledge the contributions of Dr. C. Rod Metts and Dr. Steve Schwartz to the shaping of this work. Without Dr. Metts' valuable theoretical suggestions, much of the scholarship I have used herein would not have been included. Dr. Schwartz also offered both kind support and the expertise of critical scholar of English that so complimented much of what I produced. Finally, I would like to acknowledge and thank my mother Myrna Hetzel for her sagely advice and continued loving support. Her "healthy eyes" often•supplemented mine when my partial blindness became invasive. v To Myrna Hetzel and Mary Reuter, two wise women that always believed in me. TABLE OF CONTENTS ABSTRACT.................. iii ACKNOWLEDGEMENTS .................................... v CHAPTER ONE: ON RADICAL CREATIVITY AND THE ORIGIN OF MAD RHETORIC IN HUMAN CONSCIOUSNESS Radical Creativity: The Core Unit of Mad Rhetoric............................ 1 Mad Rhetoric as a Rhetorical Model ............ 2 Toward the Establishment Of a Theory of Mad Rhetoric...................... 5 CHAPTER TWO: RECTIFYING AN AGELESS SUPPOSITION: MAD RHETORIC AND THE LITERATURE Radical Creativity as a Function of Human Consciousness ................................ 9 Mad Rhetoric, not Mentally Ill Rhetors ... 14 An Alternate Critical Path.................. 17 The Mechanics of the Rhetor's Maddening of an Idea: A Matter of Conscious Will . •............ 19 Facets of Conscious Radical Creativity ........ 38 Textual Structures of Mad Rhetoric ............ 53 Critical Frameworks for Analysis of Mad Rhetoric.....................................59 CHAPTER THREE: THE MAD RHETORIC AS PLOT DEVICE: H.P. LOVECRAFT'S "THE MUSIC OF ERICH ZANN" A Stranger "Weird" Tale ......................... 7 0 Mad Rhetorical Aspects of "The Music of Erich Zann".............................. 71 vi A Desperate Rhetor Apart ........ ....... 75 Analysis of "The Music of Erich Zann" ...... 77 The Fugue to the Forgotten Street ..... 77 Enter the Damned Musician.......... 85 The Wails of a Male Banshee ......... 87 The Hidden Horror.......................... 90 The Not-So-Innocent Narrator .............. 93 The Descent into the Beyond . ... 96 A Desperate Man in his Final Hour.......... 97 Flight of a Frightened Soul............... 101 Lovecraft: The Man behind the Story............. 102 Evil does have a Name and a Face........... 106 Artists: Lovecraft's Favorite Accursed,. 107 Lovecraft's Weird Use of a Musical Mad Rhetoric.............. 108 Further Questions and Ideas on the Use of Mad Rhetors and their Mad Rhetorics as Plot Devices in Radically Creative Works ................ Ill CHAPTER FOUR: THE MAD RHETOR AS MODEL FOR MAD RHETORIC Vincent Van Gogh: Portrait of a Troubled Artist........ .................... .... 115 Initial Impressions of the Portrait ............ 119 Van Gogh's Innovative Use of Color............. 122 Shapes and Colors Transform the Figure ..... 124 vii The Background Makes the (Radically Creative) Man.................. ...................... 127 The Art Realized and the Message Conveyed .... 129 The Life of the Troubled Genius' Vincent Van Gogh............................................130 One Artist's Love of Communication............. 134 A Work Criticized, a Mad Rhetoric Qualified . 138 Beyond Van Gogh: Searching for Other Self-Portraits of Mad Rhetors ................. 139 CHAPTER FIVE: ERASERHEAD: AN EXAMPLE OF A MAD RHETORIC IN FILM ...................... 143 David Lynch and his Warped Style............... 14 6 The Morality of an Idealistic Misanthrope .... 148 Reception to Eraserhead: The Film that Introduced Lynch's Warped Worlds .............. 151 Scholarly and Critical Reception To Eraserhead ..................................154 Heuristic Analysis of the Film . ■............. 161 Dream a Damned Dream of Me................. 161 Henry Hops Along in Hell................... 162 Henry Enters the Nest..................... 166 Hovel is Where the Home is................. 172 Daddy and Spawn Alone at Last . ...........174 Seduction onto Death....................... 17 6 A Man finds Himself Guilty in His Own Head.................................... 178 viii Only in Another World Will Any of This Have Real Meaning? .......... ....... 181 The Descent and Damnation of Henry Spencer................................ 183 Structural Analysis of the Film's Radically Creative Subtextual Level ... ........ .... 185 Morphology of Eraserhead . ... .......... 187 The Visible Facade of the Story........... 192 Characters and Elements in the Narrative.......................... 193 The Hidden Structural Meaning of the Characters and the Elements...............196 The Significance of Eraserhead as a Mad Rhetoric .................. '........... 201 Eraserhead's Mark on Post-Modern and Surrealist Filmmaking Traditions........ ................ 2 05 CHAPTER SIX: MAD RHETORICAL THEORY AND ITS PLACE . IN THE FIELD OF COMMUNICATION STUDIES............................ 208 Criticizing the Mad Rhetoric................... 213 Critical Interrogations of Mad Rhetorics . 217 The Place of Mad Rhetorical Theory in Future Criticism............................... 222 The Existence of Mad Rhetorical Critical Frameworks and a Comparative Mad Rhetorical Literature............................ 22 8 REFERENCES ...................................... ...230 ix CHAPTER. ONE ON RADICAL CREATIVITY AND THE ORIGIN OF MAD RHETORIC IN HUMAN CONSCIOUSNESS Radical Creativity: The Core Unit of Mad Rhetoric The social world is a stage of ideas and acts of creativity, and nearly all of these processes fit into a continuum of production and the denial of production. Nearly all of what is produced along the way is either a reproduction of previous forms or a product that bears some mark of change and innovation, Occasionally, however, a creation is produced that bears the mark of a rarified and uniquely original revision of a form, This new product bears the characteristics of previous creations, but it also breaks with them by including a creative element unique to that particular creation and its creator. This echelon of production is what I have chosen to term the "mad rhetoric," which I mean
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