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Dissertations / Theses on the topic 'Digression (Rhetoric) in literature'

Author: Grafiati

Published: 4 June 2021

Last updated: 31 July 2024

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1

Taylor, Luke. "Renaissance Error: Digression from Ariosto to Milton." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11089.

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Renaissance Error proposes that the formal key to early modern literature is digression. In the sixteenth and seventeenth centuries, writers compose works that persistently imitate moral and cognitive wandering, often in an attempt to remedy such wandering. Their powerful sense of human error springs from the humanist and reformist view of the Middle Ages as a gigantic detour from classical civilisation and from the apostolic Church. This sense deepens as the intellectual disciplines and religious paths of the Renaissance divide. And it culminates in a radical picture of all human desire, thought, and history as continually digressive from beginning to end.

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2

Perry, Peter S. "The rhetoric of digressions revelation 7:1-17 and 10:1-11:13 and ancient communication." Tübingen Mohr Siebeck, 2008. http://d-nb.info/995886857/04.

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Bennett, Stephen Robert. "Is All This Digression or Isn't it Digression: "Fourplay" and its Effects in Ford Madox Ford's "The Good Soldier"." W&M ScholarWorks, 1995. https://scholarworks.wm.edu/etd/1539625977.

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Crimmins, Mark Dennis. "A rhetoric of digression, the discursive critique of ratiocentrism in the major novels of middle Bellow, 1953-1975." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0020/NQ45696.pdf.

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Church, Farrell Mary Joanne. "The rhetoric of silence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0021/NQ55328.pdf.

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6

Beedham, Matthew. "'Border rhetoric' : reading Asian-Canadian literature." Thesis, University of Nottingham, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.401546.

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Ianetta, Melissa Joan. "Flowers rhetoric : the nineteenth-century improvisatrice tradition." Connect to resource, 2002. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1225218020.

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8

Walmsley, Peter Samuel. "The rhetoric of Berkeley's philosophy." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.254447.

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9

Harry, Martyn. "Rhetoric and the compositional idea." Thesis, City University London, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.363351.

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10

Boehm, Beth Ann. "A rhetoric of metafiction." The Ohio State University, 1987. http://rave.ohiolink.edu/etdc/view?acc_num=osu1258655494.

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11

Chiappini, Michael. "Beyond Memorialization: Rhetoric, Aesthetics, and AIDS Literature." Case Western Reserve University School of Graduate Studies / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=case1554497149697206.

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12

Bumke, Alison. "John Donne's rhetoric of disease." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709173.

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13

Church, Alan P. "Scribal rhetoric in Anglo-Saxon England /." Thesis, Connect to this title online; UW restricted, 1996. http://hdl.handle.net/1773/9320.

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14

Gifford, David Pharis. "Roasted: Coffee, Insult, Rhetoric." TopSCHOLAR®, 2017. http://digitalcommons.wku.edu/theses/1951.

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While insult has been a frequent topic for rhetorical study in the past, little if any work has gone toward the formation of a systematic theory of insult. Karina Korostelina has proposed a theory of intergroup identity insults, which appears promising from a socio-cultural perspective. However, her theory does not address the particularly rhetorical characteristics of insults, preferring instead to analyze them with reference to their socio-historic context. While her theory proves sound under scrutiny, it does little to shed light on pejorative rhetoric as rhetoric. In what follows, I would like to propose certain characteristics of pejorative rhetoric that may prove useful in developing a rhetorical understanding of insult. I will be using Korostelina’s theory as a starting place to ground my discussion of insult, but I will go beyond the socio-historic contexts to suggest a purely rhetorical aspect of insults that creates new meanings and associations independent of larger cultural contexts. While independent of cultural contexts, these new associations are still informed by cultural contexts. As such, I will be using coffee, a cultural artifact with a variety of social and culture meanings, as a lens from which to examine pejorative rhetoric. Ultimately, I propose that insult functions by drawing from the associations inherent in cultural artifacts in order to transform those associations into purely rhetorical associations, that is, associations that could not exist without the influence of pejorative rhetoric, thereby creating a rhetorical context independent of large cultural contexts.

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15

Michael, Andreas James Ado. "Paul Celan : a rhetoric of silence." Thesis, Queen Mary, University of London, 1987. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1623.

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The thesis focusses on the suspension of Celan's poetry between speech and silence, in particular on the way in which this suspension functions and on the interrelations between its thematic, formal, metaphorical, tonal and structural manifestations. As is emphasized in a fusion like "das erschwiegene Wort" in the early programmatic poem "Argumentum e silentio, " silence in Celan is not opposed to, but is inherent in, poetic speech. The fundamental mediality of his poetry engenders numerous devices of suspension, which, according to the rhetorical modes in which they silence reference, may be divided into three distinct but not mutually exclusive categories: unfinality, disjunction and displacement. The first category is defined by the avoidance of closure. Whatever the technique employed, be it the elision of a final full stop or an explicit self-revocation, this type of poem not only negates its own finality, but consists of this very invalidation. The speech of the poem is the silencing of speech. This primal suspension infuses Celan's work with a host of correlative disjunctions. Metaphors are often radically suspended between mutually exclusive extremes of connotation, mutually exclusive denotations sometimes starkly juxtaposed. The opposing terms at once define and negate each other: the essence lies in the interstice they delimit. The third category investigated is that of displacement, which, exemplified by the use of irony and anagrams, involves suspension by a deviation from, rather than a negation of, literal meaning: an element of deflection and play is to the fore. All three categories share the basic mechanism of exploiting an interstice between reference and rhetoric. And, the thesis ventures finally to suggest, it is this interstice, reflected thematically in many metaphors of mediality and constituted by a fusion, a synchronization, of multiple grids of signification, that structures the poem; it is silence that speaks.

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16

Hallen, Cynthia Leah. "Philology as rhetoric in Emily Dickinson's poems." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185586.

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Philology, or the love of words, is a source of power in Emily Dickinson's poems. Noah Webster's dictionary was a storehouse of philological knowledge and thus a major source of linguistic power for Dickinson. Her poems show that philology is an effective way to compose and interpret texts, and that paying attention to words is a source of rhetorical power for readers and writers today. The first six chapters of the dissertation feature aspects of Dickinson's philology from the perspective of nineteenth-century rhetoric: Definition, Music, Cohesion, Dictionary Use, and Etymology. Chapter One tells the story of Emily's "Lexicon" and "Noah's Ark." Chapter Two discusses definition as a rhetorical strategy and presents a definition of terms. Chapter Three explores music as rhetorical power in the themes, prosody, and sound patterns, syntax, and lexis of Dickinson's poems. The cohesion of Dickinson's lexical choices is the focus of Chapter Four. Chapter Five focuses more intently the role of the Lexicon in Dickinson's composing processes. The role of etymology in Webster's lexicography and in Dickinson's poetry is the subject of Chapter Six. Chapter Seven uses A. L. Becker's definitions of a new philology to discuss the function of philology in contemporary English studies.

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17

Da, Soller Claudio. "The beautiful woman in medieval Iberia rhetoric, cosmetics, and evolution /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4175.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2005.
The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 17, 2006) Vita. Includes bibliographical references.

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18

Ryan-Lopez, Bianca. "Corruption and infected sin the Elizabethan rhetoric of decay /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1790276231&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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19

Pina, Gerardo. "The rhetoric of the Fantastic in late-Victorian literature." Thesis, University of East Anglia, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.490670.

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This thesis offers a study of a particular period (1884-1899) in Britain in which Fantastic literature revealed itself as a convergence point of multiple anxieties of late nineteenth-century society. Fantastic literature is a genre often mistaken for Gothic, Fantasy or the like, that in fact has its own particular' rhetoric and literary conventions. In this study I present some of the most important social and literary elements of the context in which Fantastic literature emerged in Britain - the conventions of Gothic literature, a short history of Spiritualism, the scientific organizations devoted to the study of paranormal phenomena, such as the Society for Psychical Research, and a brief summary of the social evolutionist ideas of Thomas Huxley and H.G. Wells. By examining the context and some representative works of Fantastic literature, like R.L. Stevenson's 'Olalla' (1884), Arthur Conan Doyle's 'The Parasite' (1895), Henry James's The Turn of the Screw (1898) and H.G. Wells's When the Sleeper Wakes (1899), we get a better idea of essential characteristics of Fantastic literature, that is, of the elements within these stories that reflect some important issues of late Victorian society. One can see that the rhetoric of the Fantastic sheds light on phenomena linked with uncertainty and fear in late nineteenth-century society, such as occultism, supernatural sightings, haunted houses and spiritualism. During the twentieth and twenty-first centuries Fantastic literature has survived alongside Fantasy literature (J.R.R. Tolkien's Lord of the Rings), magical realism (Salman Rushdie's Midnight Children or Garda Marquez's One Hundred Years of Solitude) and children's literature (J.K. Rowling's Harry Potter) preserving its own identity and rhetoric. Italo Calvina's The Rampant Baron, J.L. Borges's 'The Aleph' and Haruki Murakami's The Wind-up Bird Chronicle indicate that Fantastic literature still has its place in literature because it expresses a particular kind of ideas that cannot find expression in other genres. This is an analysis of those ideas through the study of some of the first Fantastic literary works written in Britain.

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20

Fitzmaurice, Andrew. "Classical rhetoric and the literature of discovery 1570-1630." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.307941.

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21

Vankeerbergen, Bernadette C. "Rhetoric, Truth, and Lydgate’s Troy Book." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1243548160.

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22

Hagen, Alexandra S. "Rhetoric of Ruin: 9/11 in German Literature, Film and Culture." University of Cincinnati / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1470672178.

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23

Crockett, Andrew Philip 1956. "An essay on the rhetoric of the postmodern essay." Diss., The University of Arizona, 1996. http://hdl.handle.net/10150/290677.

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Beginning with an inquiry into the tension between modernism and postmodernism, the dissertation claims that the essay is and always has been postmodern in its uncanniness--its refusal of generic and disciplinary boundaries, its capacity to bring together multiple voices and discourses, its skepticism, and its personal, experiential epistemology. Part I concludes with rhetorical analyses of late modern (in content and residual formal attributes) and postmodern essays. The affinities and contradictions between the normalized essay originating with Montaigne and feminist essays focuses the three chapters of Part II, "Gender and the Essay." In the first chapter, "Logos, Montaigne, and Feminism," I explore the tensions between the essay as Montaigne created it and the appeal of that form to contemporary feminist writers. In the second chapter, "The Essay's (Feminine?) Form," I show how the essay has functioned as both a vehicle for the oppressive logocentrism of its traditionally male, genteel authors and as a vehicle for women writers striving to disrupt or overthrow that tradition. In the third chapter, "Rhetoric and the Practice of Style: A Gathering of Essays by Women," I pursue the rhetoric of the other aesthetic into the realm of psychoanalytic theory, where the foundation of Lacanian symbolic order troubles the "other" aesthetic's claim to an alternative discourse. To close this extensive chapter I provide an array of essays written by women that are particularly innovative. My own creative nonfiction is the subject of Part III. "What Rhetoric Means" brings postmodern elements into an academic essay. On the other hand, "Life Drawing" does not address an academic subject or employ academic conventions. Instead it offers charcoal drawing as an analog to writing, with both acting as ways to revise and reclaim my life from my father's troubled legacy. Finally, in "Reflection," the third chapter of Part III and the dissertation's closing chapter, I claim that the essay, postmodernism, and rhetoric share a deep affinity for one another. In that the three terms signify freedom from absolutes, they also force us to contend with ethical responsibilities.

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24

Binkley, Roberta Ann. "A rhetoric of the sacred other from Enheduanna to the present: Composition, rhetoric, and consciousness." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/289311.

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I examine particular characterizations of consciousness in the Western tradition of rhetoric that inform contemporary academic and professional discourse, characterizations built upon clearly gendered dichotomies. I begin by analyzing the metadiscourse of Enheduanna, (ca. 2350 B.C.E.), Marcus Tullius Cicero (d. 43 B.C.E.), and Carl Gustav Jung (d. 1961). Specifically, I examine the commentary concerning their composing processes as reflective of cultural conceptions of cognition. In all three cases they engender their creative process as sacred, other, and feminine. Focusing on Enheduanna, I analyze her works in terms of contemporary feminist theory. The contemporary rhetoric of feminist spirituality, particularly the discourse surrounding the concept of the goddess as an aspect of the feminine divine, I see as a growing phenomenon of popular culture and psychology. One way to investigate the rhetoric of this expanding popular interest is to examine it through the literary work of Enheduanna as the oldest known author. I compare her rhetoric and the modern discourse of the field of Assyriology which surrounds and interprets it. Within particular academic disciplines and their discourses, current perceptions of history effect theory and influence ideology with far reaching consequences. In rhetoric and composition, I analyze the work of three contemporary feminist rhetorical historiographers: Susan Jarratt, C. Jan Swearingen, and Kathleen Welch. I contend that their influence, as rhetorical Other, on the current perception of rhetorical historiography, influences composition theory. Their individual reinterpretations of classical rhetorical theory and history not only alter perceptions of the foundational past of rhetoric, but they exert an influence on current theories of the understanding and teaching of composition. Turning to popular culture, I then analyze how two modern psychoanalytic interpretations of the Other as feminine divine in contemporary Western society might also function to alter the teaching and understanding of rhetorical theory and composition. I look at two Jungian feminist psychoanalytic theorists (Sylvia Perera, and Marion Woodman) examining their theories in relation to the composing process. I conclude by proposing an expanded rhetoric, one that includes the Other as an aspect of the unconscious, a rhetoric also inclusive of a deepened, recursive, and reflective consciousness. This rhetoric, I postulate, might work itself out as a more comprehensive way to view composition: ethos expanded to a bicameral mind paradigm, pathos as body wisdom, and a logos of the sacred Other. I finish with a proposal titled, "Toward a Rhetoric of the Sacred Other."

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25

Murphy, Harriet. "The rhetoric of the spoken word in Die Wahlverwandtschaften." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385605.

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26

Schroeder, Sally Louise. "Allegory as rhetoric: Faulkner's trilogy." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1416.

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Dadey, Bruce. "Rhetorics Rising: The Recovery of Rhetorical Traditions in Ralph Ellison's Invisible Man and N. Scott Momaday's House Made of Dawn." Thesis, University of Waterloo, 2006. http://hdl.handle.net/10012/2789.

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This study suggests, through a rhetorical analysis of the role of orators and oration in Ralph Ellison's Invisible Man and N. Scott Momaday's House Made of Dawn, that literature can be a valuable resource for the study of comparative and contrastive rhetoric; conversely, it also demonstrates that a knowledge of culturally-specific rhetorical and narrative practices is important for understanding ethnic-American novels and their social significance. Written during periods of intense racial upheaval in the United States, Invisible Man and House Made of Dawn are, to use a term coined by George Kennedy, metarhetorics: works that explore, from cross-cultural and intercultural perspectives, the ends and means of rhetoric and the ways in which rhetoric is linked to the formation of individual, ethnic, and national identities. This exploration is undertaken through the diegetic rhetoric of the novels, the depiction of rhetorical practice within their fictional worlds. Ellison's young orator, who vacillates between accommodationist, communist, and African American vernacular rhetorics, and Momaday's alienated protagonist, who is healed through the postcolonial rhetoric of a Peyotist street preacher and the ritual rhetoric of a displaced Navajo chanter, both illustrate how the recovery of traditional rhetorical practices is an integral part of cultural empowerment. The interaction of culturally-specific systems of rhetoric is also embodied in the extradiegetic rhetoric of the novels, the means by which the novels themselves influence their readers. Central to the novels' own rhetorical effectiveness is their authors' strategic appropriation of modernist techniques, which allowed the works to negotiate multiple literary traditions or social contexts, to penetrate and transform the American canon, and to accommodate and affect readers from a broad range of cultural backgrounds.

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Vankeerbergen, Bernadette C. "Rhetoric, truth, and Lydgate's Troy book." Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1243548160.

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29

Manlove, Clifford T. "Eyes that colonize and post-colonial resistance to the transatlantic gaze in literature /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9962541.

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30

Largey, Zachary L. "The Rhetoric of Persecution: Mormon Crisis Rhetoric from 1838-1871." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1249.pdf.

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31

Sumner, David Thomas. ""Speaking a word for Nature" : the ethical rhetoric of American nature writing /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9986764.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes transcripts of interviews with Stephen Trimble, Barry Lopez, Annick Smith, Bill Kittredge, David James Duncan, Don Snow, David Quammen, and Terry Tempest Williams. Includes bibliographical references (leaves 367-373). Also available for download via the World Wide Web; free to University of Oregon users.

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Jennings, Emily. "Prophetic rhetoric in the early Stuart period." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:13643178-0544-4b2b-9ca3-55d6c73a5d26.

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This is a study of the political prophecy in England in a period delimited by the accession of King James I (1603) and the end of the Interregnum (1660). It combines the analysis of hitherto obscure manuscript texts with that of printed works to provide a nuanced account of the uses and reception of prophecies in this period. Chapter One (which focuses on the first decade of James's reign) and Chapter Two (which covers the period 1613-19) approach the analysis of dramatic treatments of political prophecy through the study of prophecy both as a rhetorical buttress to the Jacobean state and as a protest genre. Attentive to the elite bias of the legal documents wherein allegedly oppositionist uses of prophecy are recorded, these chapters heed the counsel of historians who have found literary scholars insufficiently suspicious of the rhetoric of these materials. A focus on dramatic texts, neglected by the historians, reveals that Jacobean playgoers were encouraged to regard both official prophetic rhetoric and official rhetoric about prophecy with scepticism. Chapter Three considers how native and continental prophetic traditions were expanded and repurposed in England around the beginning of the Thirty Years' War, when belief in the purportedly inspired status of prophecies was rare but recognition of their utility as a vehicle for political discussion was nonetheless widespread. Chapter Four explores the adaptation and tendentious exposition of medieval, sixteenth-century, and Jacobean manuscript prophecies in printed propaganda for both the royalist and parliamentarian causes in the mid-seventeenth century. This study of literary and archival sources finds that previous scholarship has overestimated the extent of popular faith in the authenticity of allegedly ancient and inspired prophecies in the early Stuart period. The longevity of purported prophecies, it concludes, was ensured through the recognition, appreciation, and exploitation of their rhetorical affordances.

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Forsa, Catherine Q. "Science as Aesthetic Device in Nineteenth-Century American Literature." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1460481373.

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34

Tanner, Rory. "Roger Crab and the rhetoric of reclusion." Thesis, University of Ottawa (Canada), 2008. http://hdl.handle.net/10393/27735.

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Prophet, pamphleteer, and hermit, Roger Crab (c.1616-1680) stands out from the sectarian tumult of mid-seventeenth century London as a zealous religious independent and a noteworthy oppositional figure. This study describes Crab's brief publication career as shaping a "rhetoric of reclusion," identifying in his work the distinct patterns of self-representation intended to free a purportedly divine message from the damaging influences of printers and booksellers, hireling ministers, and even the authorial self. Crab writes against the untoward mediation of his own text, but also against such interference with other sacred text. Beyond reclusion, the hermit's task proves one of reclamation. He seeks through publication and public attestation to reclaim the word of God from wayward church interpretation and from sectarian misappropriation.

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Owley, Steven A. "The voice of complaint : a study in political and moral rhetoric /." The Ohio State University, 2000. http://rave.ohiolink.edu/etdc/view?acc_num=osu1488191667185118.

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Gonzales, Amalia K. "The Visual Rhetoric of Craftsmanship." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/93.

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Within the existing research about communicative devices within visual rhetoric, most published research exists regarding two-dimensional design such as documents and media graphics. In this paper, I discuss the rhetorical value of handmade items and specifically speak to the ethos that three-dimensional, tangible handmade products inherently possess based upon their visual aesthetic.

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Hudler, Melissa Lynne. "The rhetoric of stasis, gesture and dance in Renaissance literature." Thesis, Anglia Ruskin University, 2014. http://arro.anglia.ac.uk/550333/.

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Focusing attention on a neglected aspect of Renaissance scholarship, this study aims to illuminate the rhetorical role of the body in Renaissance literature by exploring the rhetorical nature of three forms of corporeality: stasis, gesture, and dance. Generally speaking, rhetoric of the body is not lacking in early modern scholarship. However, consideration of the literary body as a rhetorical entity that not only articulates but also creates meaning is indeed a neglected area. The body-as-text paradigm that grounds performance studies provides for a unique and nuanced approach to literary text analysis. The methodology employed in this thesis combines a historical and text-based approach, with substantial attention given to classical rhetoric because of its awareness of the rhetorical capacity of the body. The rhetoric of stasis is explored in Sir John Davies’ poem Orchestra and in three works by Shakespeare: The Winter’s Tale, The Rape of Lucrece, and Coriolanus. In this chapter, trauma is presented as a framing mechanism for the characters’ static presence. Gesture and its rhetorical quality are studied through distinctive analyses of Shakespeare’s The Winter’s Tale, The Rape of Lucrece, and Titus Andronicus. An analysis of Ben Jonson’s Epicoene provides a comic close to this study of gesture. This chapter also has as its framework the concept of trauma, presenting it as either a cause for or effect of gesture. Finally, the rhetoric of dance is examined in further analyses of Orchestra and The Winter’s Tale and also in Ben Jonson’s Pleasure Reconciled to Virtue. The literary approach to the rhetorical study of stasis, gesture, and dance taken in this study includes its dramaturgical and compositional functions, providing for a new lens through which to view instances of corporeality in Renaissance literature. This project attends to the early modern awareness and understanding of the rhetorical capacity and force of the body, and does so in a way that allows the speaking body to be examined within original contexts, thus bridging literary and performance analysis.

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Jensen, Steven Morten. "Contextualizing American literature : narrative progression and the rhetoric of reference /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487780393265541.

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Sullivan, Ceri. "Rhetoric in recusant writing, published 1580-1603." Thesis, University of Oxford, 1992. http://ora.ox.ac.uk/objects/uuid:6c33a077-8c94-4652-b5b6-f4be928afbba.

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Catholic writers traditionally approach the laity through the sacraments rather than the Word. Nonetheless, three devotional genres - meditation, hagiography and catechism - recognize that effective written appeals to a reader can be made using rhetoric. This thesis analyses such rhetoric, in recusant devotional texts published by secret presses between 1580 and 1603. Most detailed examinations of Catholic works think of rhetoric as emasculating the virile yet chaste prose of a 'shining band of martyrs'. This thesis proposes that the rules of rhetoric are used to empower the reader of these works by Grafting a new character in him. Meditations act as deliberative orations, swaying the reader's will. They use amplificatio and memoria to produce matter and to dwell on it. Late sixteenth-century translations of continental meditation manuals by Granada, Scupoli, Estella and Loarte provide a theory of meditation for the English works studied: rosary texts by John Bucke, Thomas Worthington and Henry Garnet; several anonymous collections of meditations and prayers; contemplations on Scriptural stories by Robert Southwell, I.C., C.N. and Robert Chambers. In the second section, saints' lives are read as rhetorical examples which support this deliberative discourse, rather than as blazons, innocent of intent on the reader. Hagiographies by Worthington, Robert Persons, William Alien and Thorns Alfield reflect images of what a martyr or saint should do, not what he did. The last chapters show how catechisms recreate these idealized images in the reader by acting as dramatic scripts for him. Repetition through rhetoric dissolves the element of theatre, allowing the reader to absorb these rules for life. Once again, Elizabethan translations of foreign catechisms by Granada, Bellarmine and Canisius are used to illuminate English catechisms by Persons, Southwell and Lawrence Vaux.

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Sagerson, Erin Jean. "Art and bread Mike Gold, proletarian art, and the rhetoric of American communism /." [Fort Worth, Tex.] : Texas Christian University, 2009. http://etd.tcu.edu/etdfiles/available/etd-05012009-115428/unrestricted/Sagerson.pdf.

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Walker, Aretha A. "A study of the rhetoric of American advertising discourse." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2007. http://digitalcommons.auctr.edu/dissertations/1366.

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This study, exploring the nature of American advertising discourse, is guided by two overriding questions. First, "What is the nature of rhetoric in American advertising discourse?" and "How is the rhetoric of American advertising different from literature?" To answer these questions, the study examines the extended post-modern meaning of discourse and advertising, exploring both terms from the perspectives of humanists, sociologists, advertisers and communication experts. The study further discusses the nature of popular culture, of which advertising is a subgroup, and then explores the view of its critics who see it as dystopic—creating the opposite of a Utopia. These critics primarily fall into three camps: those who stridently denounce it without applying any sort of analysis or explanation of why it is bad, the best example being Hilton Kramer. Another in this camp, Dwight McDonald, tries to analyze popular culture albeit from a biased perspective, as his terminology and language quickly demonstrate. Others who more successfully explore the negative aspects of popular culture are the famous culture 1 critics, Allan Bloom and Christopher Lasch, who advocate keeping popular literature out of the classroom because it takes away precious time from the classics. Proponents of popular culture are less concerned, however, with whether or not the items being studied are "good" or bad" but rather whether or not they are worth being studied. They give an overwhelming answer, "Yes, they should be." These scholars, often politically motivated, use the theory of cultural materialism through which to examine cultural artifacts. Moreover, the study examines rhetorical devices of advertising discourse. Using glossy magazine advertisements, four tropes that are frequently used in advertisements are explored—imagery, rhythm, symbolism, and hyperbole, demonstrating how the visual images of women, as well as images that project power and wealth, are utilized in the discourse of American advertising, both positively and negatively. Finally, the study brings poetry and advertising together for comparative purposes by examining elements of syntax and graphics, and the ideology of love as seen in the two. The overall significance of this study is that it sheds light on the relationship between the discourses of two genres of cultural production that many people frequently assume not to be related.

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Reed, Kristin. "The rhetoric of grief Seamus Heaney, Joseph Brodsky, Yves Bonnefoy, and the modern elegy /." [Bloomington, Ind.] : Indiana University, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3386713.

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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2009.
Title from PDF t.p. (viewed on Jul 15, 2010). Source: Dissertation Abstracts International, Volume: 70-12, Section: A, page: 4669. Adviser: David Hertz.

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Gring, Mark Andrew. "Rhetoric and ideology : an analysis of interaction among epistemology, praxis, and power /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487847761309056.

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Klassen, Jonathan M. Trites Roberta Seelinger. "Narrative distancing in literature for youth." Normal, Ill. : Illinois State University, 2006. http://proquest.umi.com/pqdweb?index=0&did=1276405151&SrchMode=1&sid=3&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1202154634&clientId=43838.

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Thesis (Ph. D.)--Illinois State University, 2006.
Title from title page screen, viewed on February 4, 2008. Dissertation Committee: Roberta Seelinger Trites (chair), Karen Coats, C. Anita Tarr. Includes bibliographical references (leaves 258-267) and abstract. Also available in print.

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Fredriksen, Sandra Ohse. "Roland Barthes's Ancient rhetoric: A translation." CSUSB ScholarWorks, 1988. https://scholarworks.lib.csusb.edu/etd-project/353.

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Hughes, Christopher. "Five Middle English alliterative poems : their versification, rhetoric and authorship." Thesis, Cardiff University, 2018. http://orca.cf.ac.uk/111228/.

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The Awntyrs off Arthure (Awntyrs), The Knightly Tale of Gologras and Gawain (Gologras), Rauf the Collier (Rauf), The Pistel of Swete Susan (Susan) and The Buke of the Howlat (Howlat), five fourteenth and fifteenth-century alliterative poems in rhyming stanzas, are the subjects of a stylistic analysis using a novel methodology. The aims of the analysis are threefold: (i) to reappraise the structure of Awntyrs and provide more evidence than hitherto has been offered for the work originally to have been two poems by different authors; (ii) to provide more securely evidenced data to evaluate the various claims made in nineteenth and twentieth-century criticism for shared authorships between Awntyrs, Gologras, Rauf and Susan; (iii) to demonstrate how, and with what motives, Richard Holland composed his only known poem, Howlat. From the studies of the authorship claims, a proposal is developed that Gologras and specifically the second episode of Awntyrs are more closely related than hitherto described. The methodology considers such elements of literary style as attention to strophic paradigms, syntax, narrative technique and rhetoric. The study of rhetorical style in non-Chaucerian fourteenth and fifteenth-century poetry seems to have been neglected but proves to contribute significantly to an understanding of the stylistic characteristics of the poems that are the subjects this thesis. The rhetorical study of Howlat reveals the extent to which its author followed the teachings of a classical rhetorician when composing his fable and modelled its central panegyric on traditional praise poetry. The thesis demonstrates how the methodology exploits the complex versification of these poems to study the literary style and ability of their authors, and invites its future application to a study of all the extant alliterative thirteen-line stanza poems.

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Burrow, R. W. "Rhetoric and philosophy in Swift's 'A Tale of a Tub'." Thesis, Royal Holloway, University of London, 1986. http://repository.royalholloway.ac.uk/items/09ab9d80-56ce-4141-b952-d7c47d5e6d6b/1/.

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My aim is to show that Swift's rhetorical method in the Tale is determined by his adherence to a tradition of political philosophy which held that there is a radical distinction between the philosopher, or lover of knowledge; and the non-philosopher, or lover of delusion. In this ultimately Platonic view, 'noble lies' are though to be more useful to the generality of mankind than certain truths which weaken the fabric of society. The philosopher must work with illusions rather than attempting to destroy them; in fact, to be of any use to the state, he must vigorously maintain opinions which he secretly believes to be false. If he wishes to speak to his philosophical readers as well, his text must contain a second, concealed level which can be uncovered by readers with enquiring minds, but which is not apparent to the non-philosophical majority. I suggest that the forceful defence of Anglicanism in the Tale is swift's popular level, and is secretly contradicted by an argument addressed to the philosophical reader, in which swift admits that established opinions - among which we can number not only Anglicanism but Christianity itself - are false, but asserts that it would nevertheless be folly to discard them. Form and content are thus perfectly welded, as swift practises exactly what he preaches. The Tale's rhetorical method is shaped by a dual aim: to lead on the enquiring reader to its deepest levels, and to exclude'superficial' readers from all but a defence of healthy illusions. The Tale encourages two types of response because what is beneficial to one type of reader is not so to the other. This study treats equally of form and content because the Tale both utilizes and illustrates the principles which it secretly advocates.

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Dillon, Brian. "The temporality of rhetoric : the spatialization of time in modern criticism." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.300481.

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Dixon, Marzena M. "The structure and rhetoric of twentieth-century British children's fantasy." Thesis, University of St Andrews, 1992. http://hdl.handle.net/10023/14858.

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This thesis discusses twentieth century children's fantasy fiction. The writers whose creative output is dealt with include Penelope Lively, Alan Garner, Susan Cooper, Pat O'Shea, Peter Dickinson, T.H.White, Lloyd Alexander and, to a lesser extent, C.S.Lewis and J.R.R.Tolkien. These authors have been chosen because their books, whilst being of a broadly similar nature, nevertheless have a sufficient diversity to illustrate well many different important aspects of children's fantasy. Chapter I examines the sources of modern fantasy, presents the attitudes of different authors towards borrowing from traditional sources and their reasons for doing so, and looks at the changing interpretation of myths. Chapter II talks about the presentation of the primary and secondary worlds and the ways in which they interact. It also discusses the characters' attitudes towards magic. Chapter III looks at the presentation of magic, examines the traditional fairy-tale conventions and their implementation in modern fantasies, and discusses the concepts of evil, time, and the laws governing fantasy worlds. Chapter IV deals with the methods of narration and the figure of the narrator. It presents briefly the prevailing plot patterns, discusses the use of different kinds of language, and the ideas of pan-determinism and prophecy. The concluding chapter considers the main subjects and aims of children's fantasy, the reasons why the genre is so popular, and its successes and failures.

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Bullock, Kurt E. "Narrative space and time : the rhetoric of disruption in the short-story form." Virtual Press, 2001. http://liblink.bsu.edu/uhtbin/catkey/1213154.

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This study traces spatial and temporal disturbances in the modem short story structure. Edgar Allan Poe's "indefinitiveness" and Kenneth Burke's "actualization" serve as historical foundations for this investigation, which leads to contemporary frameworks proposed by such theorists as Gerard Genette, Umberto Eco, Wolfgang Iser, Paul Ricoeur, Peter Brooks, James Phelan, and Susan Sniader Lanser. In particular, I explore how effect operates as a predominant concern of short fiction. Short fiction is a rhetorical interaction encumbered by spatial and temporal constraints, and its narrative teleology is necessarily disrupted by rhetorical techniques. Narrative's boundaries are purposefully violated, its tempo twisted and contorted, exposing a purposeful tension in the rhetorical engagement of author, text and reader. Instabilities crafted within the text disrupt time-space expectations of readers.Importantly, effect is perceived as a rhetorical device within short fiction, and so in this study the text serves as a site of transference privileging equally writer and reader. Conditions of possibility and understanding are invested in the text by the author through techniques of spatial disruption and temporal discontinuity, and then reinvested in the reader by the narrative through the text's generation of uncertainty. Short fiction serves as an invitation by the author for the reader to construct explanations; devices work to disrupt the time-space constraints of the genre, establishing as they do a narrative contract between author and reader that is resolved in and from the text.Burke considers this to be shaping prose fiction to the author's purposes, an act which "involves desires and their appeasements" - and one which purposefully aims for a particular effect. But what are the limits of purposefulness in short fiction? I examine both textual effect and reader affect, relying particularly on Iser and Eco, and turn to Brooks in conclusion to summarize the role of desire in and from the text, and to Phelan to critique the place of rhetoric in establishing and maintaining that desire. My analysis discloses that time-space disruption, employed as a rhetorical strategy by short story writers, serves to heighten rather than threaten the mediated engagement of writer/text/reader in short fiction, producing a measured effect.
Department of English

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