We report an experiment investigating the “special-process” theory of insight problem solving, which claims that insight arises from non-conscious, non-reportable processes that enable problem re-structuring. We predicted that reducing opportunities for speech-based processing during insight problem solving should permit special processes to function more effectively and gain conscious awareness, thereby facilitating insight. We distracted speech-based processing by using either articulatory suppression or irrelevant speech, with findings for these conditions supporting the predicted insight facilitation effect relative to silent working or thinking (...) aloud. The latter condition was included to investigate the currently contested effect of “verbal overshadowing” on insight, whereby thinking aloud is claimed to hinder the operation of special, non-reportable processes. Whilst verbal overshadowing was not evident in final solution rates, there was nevertheless support for verbal overshadowing up to and beyond.. (shrink)

Kenneth Burke is, at long last, beginning to get the attention he de- serves. Among anthropologists, sociologists, psychologists, and rhetori- cians his "dramatism" is increasingly recognized as something that must at least appear in one's index, whether one has troubled to understand him or not. Even literary critics are beginning to see him as not just one more "new critic" but as someone who tried to lead a revolt against "narrow formalism" long before the currently fashionable explosion into the (...) "extrinsic" had been dreamed of. I have recently heard him called a structuralist-before-his-time-and what could be higher praise than that! But in almost everything said about his literary criticism, there is an air of condescension that is puzzling. The tone seems usually to echo that of Rene Wellek , who, as Burke himself laments , "almost overwhelms me with praise," referring to "men of great gifts, nimble powers of combination and association, and fertile imagination," but then deplores Burke's irresponsibility, repudiates his critical judgments, condemns his general method without bothering to look closely at it, and in general makes him look like some sort of idiot savant-a buffoon with a high IQ.Wayne C. Booth received the Phi Beta Kappa Christian Gauss Award in 1962 for his book The Rhetoric of Fiction. His most recent works, A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent, appeared this year. His contributions to Critical Inquiry include "Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , "THE LIMITS OF PLURALISM: 'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "CRITICAL RESPONSE: Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter and W.J.T. Mitchell: "EDITORS' NOTE: Sheldon Sacks 1930-1979". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Our Best RhetorologistWayne C. BoothAristotle’s Rhetoric: An Art of Character, by Eugene Garver; 328 pp. Chicago: University of Chicago Press, 1994, $53.95.Eugene Garver’s new book is not only an original and challenging account of Aristotle’s Rhetoric. It is one of the fullest and most responsible encounters ever with philosophical, political, and ethical issues raised by the theory and practice of rhetoric. I’ll go even further. Because Garver grapples so (...) well with how Aristotle’s problems differ from ours, and how his solutions do not quite fit what we most need, I hereby confer upon him, without irony, the title of supreme “rhetorologist” (a term he needs but does not use).A rhetorologist is not just “rhetorician” or “rhetorical theorist” or “philosopher of rhetoric.” Garver’s work dramatizes our need for a term for the “comparativist of rhetorics,” the thinker who probes how disparate rhetorical practices and theories compete and are finally, inescapably related. In earlier times when all philosophers were trained to think about rhetoric the term “genuine philosopher” might have served the trick. But it won’t work today.Garver has spent decades on this masterwork of rhetorology, and he thus joins those rare masters-of-interrelated-rhetorics—Kenneth Burke, Richard McKeon, who else?—those who do justice both to the importance and the complexities of a subject that Aristotle has led us into but himself could never have dreamed of, since he had available no fully developed alternative “rhetorics” to do a “-logy” on. [End Page 116]The book is too ambitious and complex to allow full justice here. It is a book not just to read but to study; it is a book to teach from. All attentive readers will find themselves drawn into issues previously dodged, or engaged in quarrels about theses they’ve never met before. Those like me whose interests overlap strongly with Garver’s will of course dispute about some points. What will prove important, as the book gets discussed, will be our recognition of just why the project itself has led Garver, and leads us, into some inescapable juggling with several different and potentially contradictory theses, each of them so important that it must at moments have invited Garver to consider it as primary. Indeed, when an original thinker bites off more than anyone can chew, let alone fully digest, we should not be surprised if we have a hard time deciding just what the main point is. Several times in my first reading I thought, “Garver has mistitled this book: it should be called...”—and then I’d try out a title that fit the argument at that point but would not fit precisely what came next.The result is that different sympathetic readers will find different books here, with at least the following ambiguously related purposes—all of them to my mind either firmly achieved or at least pursued so effectively that refutation will prove difficult. Some of them are the overt theses of particular chapters, but all are found echoed or implied in every chapter. And all are finally and impressively interrelated.IFirst, Garver works, as he must, to show the faults of past readings of the Rhetoric. The chief of these has been the reduction to a handbook for rhetors; it is not a technical handbook, though it can be used as that, but an effort to “construct a civic relation between argument and ethos, so between techn̄e and phron̄esis [prudence]” (p. 77). “Aristotle’s political project is to maximize the active—energeia—side of rhetoric and so civilize the activity of influencing beliefs and judgments and convert into a minor irritant the role played by disreputable tactics such as playing on irrelevant emotions in the hearers” (p. 40). “I have... assumed that instead of doing that job [the ‘handbook’ job] badly, Aristotle is in fact trying to accomplish something else. I see him exhibiting the internal values and standards of rhetorical argument to legislators and citizens” (p. 235), [and thus making possible] “a new conception of the ethical, and of the relation of logos and ethos” (p. 16). “Aristotle’s Rhetoric is about a civic art... (shrink)

What I am calling for is not as radically new as it may sound to ears that are still tuned to positivist frequencies. A very large part of what we value as our cultural monuments can be thought of as metaphoric criticism of metaphor and the characters who make them. The point is perhaps most easily made about the major philosophies. Stephen Pepper has argued, in World Hypotheses,1 that the great philosophies all depend on one of the four "root metaphors," (...) formism, mechanism, organicism, and contextualism, and they are great precisely because they have so far survived the criticism of rival metaphors. Each view of the totality of things claims supremacy, but none has been able to annihilate the others. They all thus survive as still plausible, pending further criticism through further philosophical inquiry. In this view, even the great would-be literalists like Hobbes and Locke are finally metaphorists—simply committed to another kind of metaphor, one that to them seems literal. Without grossly oversimplifying we could say that the whole work of each philosopher amounts to an elaborate critique of the inadequacy of all other philosophers' metaphors. What is more, the very existence of a tradition of a small group of great philosophies is a sign that hundreds of lesser metaphors for the life of mankind have been tested in the great philosophical—that is, critical—wars and found wanting. · 1. World Hypotheses: A Study in Evidence . In Concept and Quality: A World Hypothesis , Pepper suggests that "the purposive act" is a fifth root metaphor. Wayne C. Booth's is the author of, among other works, Critical Understanding: The Powers and Limits of Pluralism. His contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "M. H. Abrams: Historian as Critic, Critic as Pluralist" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W. J. T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

When M. H. Abrams published a defense, in 1972, of "theorizing about the arts,"1 some of his critics accused him, of falling into subjectivism. He had made his case so forcefully against "the confrontation model of aesthetic criticism," and so effectively argued against "simplified" and "invariable" models of the art work and of "the function of criticism," that some readers thought he had thrown overboard the very possibility of a rational criticism tested by objective criteria. In his recent reply to (...) these critics,2 Abrams concentrates almost entirely on whether his critical pluralism is finally a skeptical relativism. He does not even mention his great historical works, The Mirror and the Lamp and Natural Supernaturalism, and he has nothing to say about how his pluralistic theories would be applied to the writing of history. But then, surprising as it seems once we think about it, neither of the two histories has much about his method either. What is the true achievement of these aggressive raids into our past, and how does Abrams see them in relation to other possible histories of the same subjects? Knowing in advance that he has agreed to reply to my nudging, I should like both to propose that everyone has—with Abrams' own encouragement—understated the importance of what he has done and to ask: What kind of pluralist is he? · 1. "What's the Use of Theorizing about the Arts," In Search of Literary Theory, ed. Morton Bloomfield , pp. 3-54. · 2. "A Note on Wittgenstein and Literary Criticism," ELH 41 : 541-54. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , >"Preserving the Exemplar: Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: “Sheldon Sacks 1930-1979”. (shrink)

Dedicated to the humanisticissimus and/or humanisticissima Editoreality of Critical Inquiry, an enterprise that is doing all possible to restore for Criticism its rightful home, namely: a state of perpetual Crisis. How now?You say"The manwalks down the street." Then tell me howyour wordsmake sense. Kenneth Burke's contributions to Critical Inquiry are "In Response to Booth: Dancing with Tears in my Eyes" , " Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" ,and "Methodological Repression and/or Strategies of Containment".

Booth says, "Burke seems to be claiming to know better than Keats himself some of what the poem 'means', and the meaning he finds is antithetical not just to the poet's intentions but to any intentions he might conceivably have entertained!" The notion underlying my analysis is this: Formal social norms of "propriety" are related to poetic "propriety" as Emily Post's Book of Etiquette is to the depths of what goes on in the poet's search "for what feels just (...) right." Wellek stops with Emily Post. The official aesthetic isn't likely to cover the ground. If I may offer a perhaps "outrageously" honorific example, on pages 329-30 of my Language as Symbolic Action, when discussing a sonnet of mine, "Atlantis," I indicate how one can both know and not know when one's imagination is working at a level of "propriety" not reducible to the official code. My lines had a Swiftian, Aristophanic dimension; and though they were not "programmatically" so designed, my experience with them both ab intra and ab extra indicates how such things can operate.Kenneth Burke's numerous writings include The Complete White Oxen , Towards a Better Life , Collected Poems, and among his critical works, A Grammar of Motives, A Rhetoric of Motives, Language as Symbolic Action, and The Philosophy of Literary Form. His contributions to Critical Inquiry are "ARTISTS ON ART: Post-Poesque Derivation of a Terministic Cluster" , " Motion/ Action" , "CRITICAL RESPONSE: A Critical Load, Beyond that Door; or, Before the Ultimate Confrontation; or, When Thinking of Deconstructionist Structuralists; or, A Hermeneutic Fantasy", and "CRITICAL RESPONSE: Methodological Repression and/or Strategies of Containment". (shrink)

Underlying these pages is the assumption that, since we begin life as speechless bodies, the radicality of religious and poetic utterance somehow retains its relation to these origins, though in maturing we develop far from the order of reality we began with. Such expression must be rooted in man's primal essence as a speechless body, albeit there develops the technical "grace" of language . I take it that the body, as a physiological organism, is always behaving in the "specious present." (...) Though we, as "persons," may anticipate or recall, the body as such is always behaving in a certain way now. If a believer is praying, his body cannot lie. If he is offering a prayer of thanks and really means it, his body behaves in one way. If he doesn't really mean it, his body behaves in a different way, though the vocables uttered in the prayer may be the same in both cases, and they may sound much less sincere to us if we hear them uttered by a genuine believer than as uttered by an accomplished tartuffe. In that sense it is by the speechless body that the person communicates with the nature of things. Kenneth Burke develops in this essay some behavioristic speculations that first exercised him in an early volume, Permanence and Change . Those speculations are pursued further in an essay, " Motion / Action," which appears in the Summer 1978 issue of Critical Inquiry. His other contributions are "In Response to Booth: Dancing with Tears in my Eyes" , "A Critical Load, Beyond that Door; or, Before the Ultimate Confrontation; or, When Thinking of Deconstructionist Structuralists; or, A Hermeneutic Fantasy" , and "Methodological Repression and/or Strategies of Containment". (shrink)

Cicero could both orate and write a treatise on oratory. A dog can bark but he can’t write a tract on barking. If all typically symbol-using animals were suddenly obliterated, their realm of symbolic action would be correspondingly obliterated. The earth would be but a realm of planetary, geologic, meteorological motion, including the motions of whatever nonhuman biological organisms happened to survive. The realm of nonsymbolic motion needs no realm of symbolic action; but there could be no symbolic action unless (...) grounded in the realm of motion, the realm of motion having preceded the emergence of our symbol-using ancestors; and doubtless the time will come when motions go on after all our breed will have vanished. Kenneth Burke is now developing the implications of the position stated in the present essay. He is also editing his Symbolic of Motives, a work designed to complement his Grammar of Motives and Rhetoric of Motives. His contributions to Critical Inquiry are "In Response to Booth: Dancing with Tears in my Eyes" , "Post-Poesque Derivation of a Terministic Cluster" , "A Critical Load, Beyond that Door; or, Before the Ultimate Confrontation; or, When Thinking of Deconstructionist Structuralists; or, A Hermeneutic Fantasy" , and "Methodological Repression and/or Strategies of Containment" . The first section of " Motion/ Action" was presented at a symposium at New York University in May 1976 and will appear in a slightly altered version in the report of those proceedings, Psychoanalysis, Criticism, and Creativity: A French-American Dialogue. (shrink)

Mad about it they still were, in 1926, when Hemingway's splendid spoofing appeared in The Sun Also Rises. But it was not everybody who had been responsible. It was mainly Anatole France, abetted by his almost unanimously enthusiastic critics. And of all his works, the one that must have seemed to fit the formula best was Thaïs, already a quarter of a century old when Jake Barnes learned of irony and pity. It is not a bad formula for the effect (...) of Thaïs, as formulas go. It is at least as useful—and at least as misleading—as "pity and fear" for tragedy. There is, however, a surprising difference. If I tell you the story of any classical tragedy, even in very brief form, you will know at once why someone might talk about that story using the terms "pity" and "fear." But if I tell you of the priest who lost his soul converting the prostitute, you will not be able to predict any determinate reaction—except perhaps that the story will have for everyone a slight bit of ironic wonder at the grand reversal. In other words, a teller will be able to turn such material almost any direction he chooses, making it into a tragedy, a comedy, a farce, a celebration of God's wonder and mystery—or a tale playing with pity and irony. Wayne C. Booth's most recent books are A Rhetoric of Irony and Modern Dogma and the Rhetoric of Assent. He is now completing a book on critical warfare and critical pluralism . A version of one chapter from that book, "M.H. Abrams: Historian as Critic, Critic as Pluralist," will appear in the Spring issue of Critical Inquiry. Other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" , "Ten Literal ‘Theses’" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

At first thought, our question of the day seems to be "about the text itself." Is there, in all texts, or at least in some texts, what Abrams calls "a core of determinate meanings," "the central core of what they [the authors] undertook to communicate"? Miller has seemed to find in the texts of Nietzsche a claim that there is not, that "the same text authorizes innumerable interpretations: There is no 'correct' interpretation. . . . reading is never the objective (...) identifying of a sense but the importation of meaning into a text which has no meaning 'in itself.'" Abrams claims that Miller cannot report on Nietzsche's deconstructionist claims without violating them: Miller seems to claim that he has found something that Nietzsche's text really says, not something that Miller himself merely brought to it. Is this objection a quibble or a clincher?1 · 1. See my "M.H. Abrams: Historian as Critic, Critic as Pluralist," Critical Inquiry 2 : 411-45, and Abrams' reply, "Rationality and Imagination in Cultural History," pp. 447-64, esp. 456-58. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" , "Irony and Pity Once Again: Thais Revisited" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , with Wright Morris: "The Writing of Organic Fiction: A Conversation" , and with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

MORRIS: But come back to that other kind of fiction, in which the author himself is involved with his works, not merely in writing something for other people but in writing what seems to be necessary to his conscious existence, to his sense of well-being. For such a writer, when he finished with something he finishes with it; he is not left with continuations that he can go on knitting until he runs out of yarn. This conceit reflects my own (...) experience as a writer, relying on the sap that keeps rising, the force that drives the flower, as Dylan Thomas put it. It is plantlike. We put it in the sun and when it doesn't grow, we take it and put it in another room. I don't think of repotting the plant. The plant must make its own way. BOOTH: I like the organic metaphor, but I keep wanting to come back to particular cases to see how you actually work, in literal detail. Even the organic novelist obviously still has the matter of collecting notes, starting a novel, having it fail to go. Let me put a simple question, and move out from there. How many actual novels, whether they ever reach fruition or not, do you have "growing" at a given time? MORRIS: You don't mean simultaneously? BOOTH: I mean actual notes that exist in some kind of manuscript form, starts on a novel, something you are actually working on. MORRIS: It is so unusual for me to have more than one or two things in mind at once that I don't find this a fruitful question. Wright Morris's work as a novelist, essayist, and photographer is examined by prominent critics in Conversations with Wright Morris; the collection, edited by Robert E. Knoll, was published in the spring of 1977 by the University of Nebraska Press. "The Writing of Organic Fiction" is a chapter in that book. Wayne C. Booth's other contributions to Critical Inquiry include "Kenneth Burke's Way of Knowing" ,"Irony and Pity Once Again: Thais Revisited" , "M.H. Abrams: Historian as Critic, Critic as Pluralist" , “'Preserving the Exemplar': Or, How Not to Dig our Own Graves" , "Notes and Exchanges" , "Metaphor as Rhetoric: The Problem of Evaluation" ,"Ten Literal 'Theses" , and, with Robert E. Streeter, W.J.T. Mitchell: "Sheldon Sacks 1930-1979". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eudora Welty House & GardenJessica RussellIf the past year had one theme, it would have been the gift of friendship. How heartening to reunite with fellow admirers of Eudora Welty on the grounds of her family home as our flagship events made their post-pandemic returns. Even so, among staff, 2022 brought challenges that, while unexpected, served to deepen our commitment to our mission and each other. Moreover, for every (...) achievement to follow in this report, there is a friendship to thank—whether with the Eudora Welty Foundation, our colleagues at the Mississippi Department of Archives & History (MDAH), individual volunteers, or community partners too numerous to list—each one a treasured marvel. For, in Eudora Welty's words, "as is true of all friendships, it might not have happened—and it did."Although we were saddened to say goodbye to our dear friend and former director Lauren Rhoades, to our delight she has returned time and again, as a volunteer, a guest, and even a guest speaker. Most impactful, Rhoades now supports sites like ours in an official capacity as the new director of grants at the Mississippi Arts Commission, where she connects arts-based organizations with potential funding opportunities. In this role, Rhoades informed the Eudora Welty Foundation about the Building Fund for the Arts Grant, to which they successfully applied. Because of this very grant, we can make perhaps our biggest announcement of 2022, which is that the Eudora Welty Foundation will break ground on the much-needed community arts building behind our Visitor Center. The report in this volume by the Foundation, which is supervising construction, contains more details on this exciting development.After Rhoades's departure, I had the great honor of transitioning to director. By December, we welcomed Lauren Claret to fill my former role as Garden Projects Specialist, ending a lengthy staff shortage. We even grew our team, adding Mary Atchley as a part-time Visitor Center Associate to handle our gift shop and ticket sales. All the while, my seasoned colleagues, Special Projects Coordinator Rachel Lott, and Education Specialist Jennifer [End Page 189] Rose, continued to shine in their respective roles: Lott coordinates volunteers and plans exhibits, events, and social media. Rose leads educational programs for students of all ages, in groups large and small, onsite and away.With such a small team, our museum depends heavily on volunteers to lead house tours and maintain the Welty garden, and recruiting new volunteers is our greatest need as we look ahead to 2023. We saw a precipitous drop in volunteers at the onset of the pandemic. Although visitation has started a noticeable rise, volunteer numbers have not yet picked up. (On that note, if you or someone you know is interested in becoming a Welty House volunteer, please email [email protected].) To each of our house docents and Cereus Weeders, we say a heartfelt "thank you."Fortunately, we had the support of two interns last fall. Victoria Richard (Millsaps College, via the Eudora Welty Foundation) led Welty House tours and updated our digital plant records database with an emphasis on the rose collection. Meanwhile, Nikki Maxwell (University of Southern Mississippi, via MDAH) worked primarily off-site with the MDAH Eudora Welty Collection, noting the numerous references to gardening in the recently unsealed Welty family papers.The annual teachers' CEU workshop took place virtually in February of 2022, comparing the works of Welty and Poe. Michael Pickard, Associate Professor of English and Creative Writing at Millsaps College, and Millsaps College Professor emerita Suzanne Marrs, led the course, and they will do so again on February 24, 2023—this time in person at the Eudora Welty House & Garden Visitor Center—comparing the work of Welty and Nathaniel Hawthorne. Thanks to support from MDAH and the Eudora Welty Foundation, teachers may attend the 2023 workshop at no charge.The in-person return of the Mississippi Book Festival in 2022 made for an exciting weekend in late August, when museum staff treated 110 festival panelists to private tours of the Welty House and Garden. We spent the next day seeing old friends, and making new ones, as 500 fellow book lovers visited our booth at the... (shrink)

Previously unpublished writings by and about Kenneth Burke plus essays by such Burkean luminaries as Wayne C. Booth, William H. Rueckert, Robert Wess, Thomas Carmichael, and Michael Feehan make the publication of Unending Conversations a ...

The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations. Introducing a concept of intention into literary analysis that supersedes existing rhetorical (...) theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument. Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other. _Intentions_ combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.2 (2000) 137-153 [Access article in PDF] Metaphor and the Making of Sense: The Contemporary Metaphor Renaissance William Franke Metaphor has gained a new lease on life through the revival of rhetoric in recent decades. For promoters of "la nouvelle rhétorique," such as Gérard Genette and Roland Barthes, rhetoric came to coincide with a total science of language that is practically coextensive with all social and (...) human knowledge, while in the Anglo-Saxon world, Wayne Booth, in the wake of Kenneth Burke, repristinated rhetoric as, not just a technical discipline, but a moral one, and, in fact, an all-embracing criticism of the humanities. 1 The fortunes of metaphor have revived and flourished in tandem with those of rhetoric as a whole. Over the more than two millennia of a progressive eclipse of rhetoric, during which it shrank from its original primacy as the master art of persuasion in law, literature, and politics and, moreover, as the general framework of culture, to the status of an ancillary art of elocution of exclusively formal import, metaphor was eventually confined to being just one particular instance within the schemes of classifications of tropes. It became an affair of style, an ornament of decorative discourse, as rhetoric came to be identified with mere elocutio and was no longer essentially also inventio--the finding of arguments, in which metaphor's role is actually paramount--and dispositio--the ordering of discourse into its syntactic parts, such as exordium, narration, discussion, peroration. As the originally tripartite art and science of rhetoric was amputated of two of its main divisions in the classical model established on the basis of Aristotle's three-book treatise, 2 metaphor became a merely formal enhancement and lost its roles as substantive and structuring for knowledge and discourse.The decline of interest in philosophical, Aristotelian rhetoric had much to do with metaphor's reduction to a merely technical or decorative device. But with the recent widening practically without limit of the terrain of rhetoric, and particularly with its restoration to its original standing as a philosophical discipline comprehending the substance of argument, metaphor [End Page 137] has once again acquired cognitive status and, moreover, has tended to become the name for figurative language in general and even, emblematically, for the rhetorical or rhetoricity as such. Where the power of rhetoric to reshape cognitive meaning and even to reinvent, or at least reconfigure, reality was once again recognized as irresistible throughout all the realms of discourse, the source and unity of this power seemed to require a name, and more often than not metaphor--on account of the transformative, inventive power associated particularly with it--has been adopted to serve this purpose.Today, under the aegis of metaphor, the power of figurative language, arguably the originating power at the source of all language and even of an articulated world as such, has newly become an object of research and general theoretical speculation. This extension of the concept of metaphor is bound up with a renewed view of figurative language in general as not only a substantive bearer of the content of discourse, but also as ontologically constitutive of the world, as operative at the origins of things and their identities. It has become possible to view all language as being metaphorical, and accordingly metaphorical operations of transfer and redefinition have been recognized as being the very essence of language and of all that comes to articulation through it. Furthermore, as witnessed by burgeoning publications and conferences, metaphor has become a topic onto which practically all the classic philosophical problems of ontology and epistemology are projected and appear in a new, specifically linguistic, light. 3This new ascendency of metaphor is certainly not uninflected or uncontested, even within the camps of the new rhetoricians. Genette, in "La rhétorique restreinte" (1972), resists the "inflation of metaphor" to become the trope of tropes and the figure of figures in a wide range of writers epitomizing modern poetics--particularly Marcel Proust, Roman Jakobson, and Michel Deguy (1969). Genette argues against reduction of... (shrink)

Our approach in this response is as folIows. In § I, we try to identify accurately Boatright’s central claims-both about Goodpaster’s original paper and about matters of substance independent of that paper. In § 2 and 3, we discuss the plausibility of those claims, first from a legal point of view and then from a moral point of view. Finally, in § 4, we defend the concept of paradox (and, in particular, the Stakeholder Paradox) as a limitation on practical reason (...) which is not necessarily to be lamented. In fact, we believe, some paradoxes are better preserved from rather than guided toward resolution. (shrink)

In the article Privacy and Health Practices in the Digital Age, the authors describe current privacy challenges for digital health data and review the theoretical framework on privacy in the contex...

The Emotional Competency Inventory framework of Daniel Goleman and Richard Boyatzis has gained significant impact in business leadership and management development. This paper considers the composition of the various versions of the ECI and its successor the Emotional and Social Competency Inventory to determine the nature of any appeal to ethics or moral competence within these frameworks. A series of concerns regarding the ethical limitations of the frameworks are presented with arguments supported by the relevant literature across the Emotional Intelligence (...) , competency theory and ethics fields. Based on a review of the ECI competencies in terms of their definitional constructs, it appears possible for an unethical manager or leader to demonstrate EI competence. Several cases involving high-profile business leaders, who were once lauded but later found to have acted unethically, are analysed. The authors consider the capacity of unethical leaders and managers to fulfil EI competence an issue of concern. The inclusion of an ethical management cluster and a number of competencies based on virtue ethics is proposed to meet this concern. Such an inclusion would address the critical issue of the purpose to which an EI competence is applied. Argument supporting the value of a virtue ethics approach as opposed to utilitarian or duty-based ethics approaches is also presented. Finally, a proposed exemplar of an ethically informed ECI framework is included for consideration. (shrink)

For centuries, humanists have celebrated and cherished the limitless potential of humankind and its irrepressible spirit. For its efforts to develop rational solutions to human problems rather than invoking supernatural intervention, humanism has been rewarded with a rich and distinguished heritage whose contributors include many of the brightest minds of intellectual history. Advocating reason, critical intelligence, free and objective inquiry, democratic institutions, and moral values based on human experience, humanism stands in steadfast opposition to the moral, political, and social oppression (...) perpetrated by all who would have us swear unquestioned allegiance to authoritarian power, be it temporal or divine. But if humanism is to remain fresh and vibrant, alert and ever vigilant, it must continuously assess and evaluate its goals in light of new experience. In The Question of Humanism, 23 contributors investigate the meaning of humanism today, its range of perspectives, and how humanists can deal with the challenges of contemporary life and those it will face as the new century approaches. This absorbing collection of original essays examines the abundant variety of historical and contemporary humanist philosophies, with special emphasis on the work of Thomas Aquinas, Immanuel Kant, Soren Kierkegaard, Karl Marx, Friedrich Nietzsche, Martin Heidegger, and Michel Foucault. Focusing on the need for an awareness of humanist tradition, these essays offer blunt, progressive self-appraisals to illustrate how humanism will continue to grow as a vital and compelling intellectual force. Featured are essays by Cecil Abrahams, Zygmunt Adamczewski, Samuel Ajzenstat, Martin Andic, Allan Booth, Richard Brown, Michael Cardy, Kenneth Dorter, Richard Francis, David Goicoechea, Danny Goldstick, Calvin Hayes, Marsha Hewitt, Monica Hornyansky, Paul Kurtz, James Lawler, John Luik, Robert McLaughlin, Graeme Nicholson, Zaid Orudjev, Robert Perkins, Charles Scott, and Edward A. Synan. The challenges of the past have served to strengthen humanists' resolve. Humanism, in all of its variations, is now ready for a new era. (shrink)

Just as recognition and pursuit of the human good take place in language and action, so too do they unfold in encounter with the material and visual. The ethical crises, projects, and striving we see in everyday religious life are worked out not just in the intersubjective play and politics of language but also in encounter with, in dwelling with, material and visual substances and forms. This essay considers the material conditions that make possible the “ethical pleasures” sought by Indonesian (...) painter A. D. Pirous in making and displaying contemporary works of “Islamic art,” most especially works that make “visual recitation” of passages from the Qur'an. (shrink)

In the Preface to the Three Dialogues<, Berkeley says that one of his main aims is to refute the free-thinkers. Puzzlingly, however, we are then treated to a dialogue between two Christians in which the free-thinkers never reappear. This is related to a second, more general puzzle about Berkeley's religious polemics: although Berkeley says he is defending orthodox conclusions, he also reminds himself in his notebooks "To use the utmost Caution not to give the least Handle of offence to the (...) Church or Church-men." What is Berkeley worried about? Both of these puzzles are solved by the recognition that the argument against matter in the Three Dialogues is patterned after an argument for atheism that Berkeley attributed to Anthony Collins. Berkeley's aim is thus to use the free-thinkers' own premises and arguments against them. In doing this, however, he rejects doctrines many churchmen held dear -- most notably, the doctrine of divine analogy. (shrink)

This study addresses the question of justice in health care. Increasing numbers of Americans are uninsured, the cost of health care is escalating, and is projected to continue doing so. In response to these and other concerns, Americans have looked to their neighbor to the north, Canada, for possible help in treating the ills of America's health care system. In addition to offering a comparative analysis of the Canadian and American health care systems, we have sought to identify the facts (...) that motivate concerns on both sides of the border. It is within this larger context, we argued, that the question of justice in health care must be answered. ;We consider two alternative answers that have been advanced in response to the question of justice in health care, Norman Daniels' fair equality of opportunity argument and Allen Buchanan's enforced beneficence arguments for a right to a decent minimum of health care. After subjecting these arguments to critical scrutiny, we found that they could not bear the moral weight that the authors thought they could. ;We then considered an alternative account that might be used to address the question of justice in health care, David Gauthier's theory of justice. We concluded, among other things, that under his theory people would have a right to a just minimum of health care. In addition, we argued that a just minimum of health care would resolve the theory-dependent version of the bottomless pit problem. (shrink)

This paper explains and defends three basic propositions: (1) that our attitudes (particularly American attitudes) towardorganizational ethics are conflicted at a fairly deep level; (2) that in response to this conflict in our attitudes, we often default to variouscounterfeits of conscience (non-moral systems that serve as surrogates for the role of conscience in organizational settings); and(3) that a better response (than relying on counterfeits) would be for leaders to foster a culture of ethical awareness in their organizations. Some practical suggestions (...) are made about fostering such a culture, and a comparison is made between this late-20th-century response to the problem of counterfeits and the classic “naturalistic fallacy” identified in early-20th-century ethics by G. E. Moore. (shrink)

What one is acquainted with has always been important for the rejection or acceptance of any ontological description. Yet the relevance of acquaintance to ontology has not always been clearly stated. Some philosophers have held that they were acquainted with the simple entities of ontological analysis. They also held that if they were not acquainted with such entities, their analysis would be inadequately supported. In this paper I argue that acquaintance with ontological simples cannot be a reason for accepting or (...) rejecting any ontological analysis. At the same time, I examine what I believe to be the relevance of acquaintance to ontological description. (shrink)