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Beyond Postprocess and Postmodernism: Essays on the by Theresa Jarnagi Enos, Keith D. Miller, Visit Amazon's Jill PDF

By Theresa Jarnagi Enos, Keith D. Miller, Visit Amazon's Jill McCracken Page, search results, Learn about Author Central, Jill McCracken,

During this number of unique essays, editors Theresa Enos and Keith D. Miller sign up for their contributors--a veritable "who's who" in composition scholarship--in looking to remove darkness from and complicate a number of the tensions found in the sphere of rhetoric and composition. The contributions incorporated the following emphasize key matters in earlier and current paintings, atmosphere the level for destiny concept and research. The publication additionally honors the overdue Jim Corder, a big determine within the improvement of the rhetoric and composition self-discipline. within the spirit of Corder's unfinished paintings, the members to this quantity soak up, probe, stretch, redefine, and interrogate classical, glossy, and postmodern rhetorics--and problem their barriers. past Postprocess and Postmodernism: Essays at the Spaciousness of Rhetoric may be of curiosity to students, lecturers, and scholars in rhetoric and composition, English, and verbal exchange reports. delivering a provocative dialogue of postprocess composition theories and pedagogies and postmodern rhetorics, in addition to the 1st thorough attention of Jim Corder's contributions, this paintings is bound to steer the process destiny examine and learn.

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Look at this other! What has he done to encourage or appreciate me? What a mess he is. How I have tried.... I can go on and on and guilt comes right along like my shadow. Can I avoid this? Can I be free of guilt? I do not think it is possible. Paul Tillich describes the anxiety of guilt as ontological. It transcends the subjective and the objective. It is a constant threat in caring. In caring, I am turned both outward (toward the other) and inward .. when caring fails, I feel its loss. I want to care, but I do not.

J. Corbert, James L. Kinneavy, and Richard Weaver, Corder remained a devoted student of classical rhetoric. At the same time—and certainly more than his colleagues aforementioned—Corder sought to pour new wine into the old vessels, radically reinterpreting the classical canons and vocabulary. Even as we seek to understand, appreciate, and apply his theory, we can admit without much loss that Corder is intuitive, speculative, repetitive, often (by his own admission) quirky in his arguments, stingy in his scholarly citations, and given to formal and stylistic experimentation—all of which makes his writings, the later works especially, a mixed bag of mixed genres and effects.

In "To the Jayton Cemetery," the penultimate chapter of Yonder, Corder describes his Baptist upbringing as a mental and emotional prison: "Why 2. TOWARD A CORDERIAN THEORY OF RHETORIC 39_ did you deprive me of Heaven, Preacher, you and all those others? " (216-17). As a critical reflection upon Corder's earlier, heroic theory, this imagined loss of Heaven is no more (nor less) than a loss or disabling of one's powers of invention, of one's freedom and openness to revision and change. The loss, Corder admits, is entirely "in [the] mind," the effect of a mere story preached over and over by "an alien authority," as Corder would likely have described it in "Jackleg Carpentry," an authority whose demands for "conformity and imitation" must be resisted by all means ("Jackleg" 20).

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