Aural, Ocular, and Sequential Rhetoric in Two Contemporary American Stories, in Prose and Film: Patterns of Anxiety in Fight Club and the Road
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Aural, Ocular, and Sequential Rhetoric in Two Contemporary American Stories, in Prose and Film: Patterns of Anxiety in Fight Club and The Road by Saeed Sabzian A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2017 ©Saeed Sabzian 2017 Examining Committee Membership The following served on the Examining Committee for this thesis. The decision of the Examining Committee is by majority vote. External Examiner Dr. Abby Coykendall Professor Supervisor(s) Dr. Randy Allen Harris Professor Internal Member Dr. Michael MacDonald Associate Professor Internal-external Member Dr. Glenn Stillar Associate Professor Other Member(s) Dr. Kevin McGuirk Associate professor ii Author's Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract The dissertation rhetorically examines anxiety and fear in Fight Club and The Road, in their both cinematic and prose versions, texts that reflect a mood of contemporary American society that has been characterized by humanities scholars with terms such as a “culture of fear” and a “culture of anxiety.” In dialogue with these scholars, I argue that literary and rhetorical criticism need additional strategies to make this culture, and the affect of texts more generally, more generative of critical knowledge. In this context, I advance two critical readings, in a triangulating methodology that leverages sound, image, and sequence. Fight Club I read as a modern-day psychomachia—a war of, for, and by the soul, in which a schism of the psyche glosses itself as divine or authentic and motivates a suffering subject to struggle for transformation or recovering to identity. The Road I read as a quest narrative to regenerate a blasted world. Quests, too, are centered on conflict and struggle, not for supremacy over threatening forces, but toward a goal of regeneration. Both patterns, as mythoi of strife and contention, serve a storyteller dealing with the anxieties of a culture at crisis. My hybrid methodology brings insights from several disciplines together to study the suasiveness of anxiety and fear materialized in sound, image, the sequence of these two media, and their roles in cultural depictions. Texts colonize the audience’s consciousness through aural and visual dimensions, as well as through the sequential arrangement of their trajectories. I argue that literary and rhetorical criticism can reveal fuller meaning through a hybrid methodology that accounts for the three dimensions. With my ‘sound’ enquiry, using iv a strategy I call ‘Aural Rhetoric,’ I contribute to the turn in humanities towards the epistemological significance of sounds and offer an analytical framework that brings out meanings lost to 'unhearing' criticism. With my second strategy, ‘Ocular Rhetoric,’ I further argue that film and novel imprint their audiences through input from the sense of sight or symbolic means that are visual. I scrutinize cinematic and prose scenes for auditory and visual implications of anxiety and fear, for ways that soundscapes, cinematography, and scenography manage an audience’s engagement with a story. With ‘Sequential Rhetoric,’ my third analytical regime, I argue that the arrangement of the aural and visual constitutes a logos, or sequential argument, in which pathos, or affective response, is induced and fostered. v Acknowledgements I would like to express my sincere gratitude to my supervisor Prof. Randy Allen Harris for his continuous support of my PhD, for his discipline, wisdom, knowledge, and motivation. He taught me a course on Kenneth Burke and another on Cognitive Science. He encouraged me to consider cinematic artifacts along my literary explorations for various human engagement with cultural artifacts. His guidance helped me throughout the research and writing of this dissertation. I could not imagine having a better advisor for my study. He is a caring and reliable mentor who inspires me for teaching, research and publication. I would like also to thank the rest of my supervisory committee, Profs. Michael MacDonald and Kevin McGuirk, for their feedback, comments and encouragement, and for their suggestions to broaden my research. In my first meeting with him, Dr. MacDonald gave me very valuable recommendations on my proposal and his review of my dissertation improved my analyses. Dr. McGuirk taught me a course on sound and noise which introduced me to a whole new world and I learned from him to look at the world through the auditory dimension. He made me give value to sounds and that resulted in my research in sound, noise and voice in literature and cinema. Dr. MacDonald and Dr. McGuirk both helped me broaden my approach and examine my case studies from various perspectives and their commentaries in my defence even motivated me to extend my future research to other media. I thank both of them. My examiners, Dr. Abby Coykendall and Dr. Glenn Stillar, made critical and improving observations about my methodologies and findings. My dissertation has benefited vi from their examinations and recommendations for improvements. Dr. Coykendall has suggested new steps for the publication of the dissertation as a book, which has motivated me to move forward with publishing the dissertation and Dr. Stillar recommended me to take my methodologies to other forms of media such as ‘video essay,’ and ‘audio essay.’ I thank both of my examiners. I am grateful of Dr. Oliver Haller who read the introduction of my chapter and sharpened my attention on my thesis and claims. My sincere thanks go also to Kyle Gerber who read most of my dissertation and made suggestions for the improvement of my writing. Thanks also goes to the department of English at the University of Waterloo, for its diverse PhD program and its support for students who wish to research in intersections between literary, rhetorical, and cinematic areas. University of Waterloo has supported me both intellectually and financially to earn my PhD in their reputed and advanced program. vii To Randy Allen Harris viii Table of Contents Examining Committee Membership……………………………………………………ii Author's Declaration ....................................................................................................... iii Abstract .......................................................................................................................... iv Acknowledgements ........................................................................................................ vi Table of Contents ........................................................................................................... ix Chapter One Introduction ................................................................................................ 1 Anxiety and Fear: Definitions and Connections .......................................................... 2 Why Study Anxiety and Fear? ................................................................................. 6 Texts: Case Studies .................................................................................................... 10 Fight Club: Novel and Film ................................................................................... 10 The Road: Novel and Film ..................................................................................... 14 Methodologies: Aural Rhetoric, Ocular Rhetoric, and Sequential Rhetoric ............. 19 Aural Rhetoric ........................................................................................................ 19 Ocular Rhetoric ...................................................................................................... 23 Sequential Rhetoric ................................................................................................ 26 Overview .................................................................................................................... 30 Chapter Two Psychomachia: The Ascent Mould .......................................................... 36 Psychomachia: The Dialectic Mould for Discord and Concord ................................ 36 Fight Club’s Allegorical Psychomachia: Rise and Sacrifice of the Superhero ..... 38 Psychomachia: Fight Club’s Mythos of Descent/Ascent ....................................... 41 ix Psychomachia: Closure as Altar ............................................................................. 51 Chapter Three Quest: Dark Descent .............................................................................. 53 Quest: Mythos of Descent and Loss .......................................................................... 53 Adventure into the "barren, silent, godless" world ................................................ 57 Pathos: Birth of A “Superior Man” ........................................................................ 61 Return: Postapocalyptic Aporia ............................................................................. 64 Rhetorical Observations on The Storytelling Elements of the Quest .................... 65 Psychomachia and Quest: Connections ..................................................................... 68 Chapter Four Aural Rhetoric: Audioscenes of Anxiety ................................................ 70 Argument for the Chapter .........................................................................................