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Difference and Repetition

Time is divided by geologists according to marked shifts in Earth's state. Recent global environmental changes suggest that Earth may have entered a new human-dominated geological epoch, the Anthropocene. Here we review the historical genesis of the idea and assess anthropogenic signatures in the geological record against the formal requirements for the recognition of a new epoch. The evidence suggests that of the various proposed dates two do appear to conform to the criteria to mark the beginning of the Anthropocene: 1610 and 1964. The formal establishment of an Anthropocene Epoch would mark a fundamental change in the relationship between humans and the Earth system.

Defining the Anthropocene

Preface (1999) Preface (1990) 1. Subjects of Sex/Gender/Desire I. 'Women' as the Subject of Feminism II. The Compulsory Order of Sex/Gender/Desire III. Gender: The Circular Ruins of Contemporary Debate IV. Theorizing the Binary, the Unitary and Beyond V. Identity, Sex and the Metaphysics of Substance VI. Language, Power and the Strategies of Displacement 2. Prohibition, Psychoanalysis, and the Production of the Heterosexual Matrix I. Structuralism's Critical Exchange II. Lacan, Riviere, and the Strategies of Masquerade III. Freud and the Melancholia of Gender IV. Gender Complexity and the Limits of Identification V. Reformulating Prohibition as Power 3. Subversive Bodily Acts I. The Body Politics of Julia Kristeva II. Foucault, Herculine, and the Politics of Sexual Discontinuity III. Monique Wittig - Bodily Disintegration and Fictive Sex IV. Bodily Inscriptions, Performative Subversions Conclusion - From Parody to Politics

Postmodern Subjects, Postmodern BodiesThinking Fragments: Psychoanalysis, Feminism, and Postmodernism in the Contemporary WestYearning: Race, Gender, and Cultural PoliticsGender Trouble: Feminism and the Subversion of Identity

No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy By Robert Hariman and John Louis Lucaites Chicago: The University of Chicago Press, 2007; pp xi + 419 $3000 cloth If you find iconic photography, visual culture, and liberal-democratic citizenship interesting enough to read this review beyond its first sentence, I have little doubt that you should read Robert Hariman and John Louis Lucaites' brilliant contribution to the growing body of literature engaging these topics The book is unquestionably valuable to academicians investigating rhetoric, media, criticism, visual and popular culture, and twentieth century US history The work also contributes substantially to the discussions of political and social theorists interested in citizenship, liberal-democratic culture, and/or the unstable line between public and private Given its significance to academics, the book is surprisingly accessible to laypersons Anyone working with a modest academic vocabulary should understand Hariman and Lucaites' primary arguments and will certainly be provoked by their narratives and analyses of the photographs In short, No Caption Needed appeals to a broad and interdisciplinary audience The work performs a close reading of nine iconic photographs and various artifacts that appropriate elements of them to show how they address the question "what is citizenship in a democracy?" Hariman and Lucaites position their critique at the contradictory intersection inherent in liberal-democratic polity, namely the simultaneous emphasis on individual identity and collective action which compete when liberty and obligations conflict In various ways, Hariman and Lucaites show how each of these iconic photographs engage the relationship of liberal and democratic ideals, arguing that these icons are powerful because they embody the conception of a human being as an "individuated aggregate" (88) Thus, the photographs all teach, perpetuate, and-through appropriation-negotiate what it means to be a citizen in a democratic state By tracing these lessons across time, Hariman and Lucaites argue that the dialectic between individual and collective in our contemporary democratic society has become imbalanced: "the icons of US public culture increasingly underwrite liberalism more than they do democracy" which threatens "democracy itself' (19) Hariman and Lucaites make a very strong case for these arguments, in part because their descriptions of the iconic photographs are extremely compelling Reading their descriptions I feel that I see the icon as they do--which is no small feat In general it is relatively easy to feel that we share with others a perspective on something written or spoken, because the cultural codes used to interpret such texts are so conventional and widespread that they obscure slight differences in comprehension But it is widely believed that a photograph can elicit so many responses that it becomes impossible to contain them all; that a picture is "worth a thousand words" expresses this sentiment perfectly To overcome this Hariman and Lucaites write eloquence bordering on poetry that provides readers a highly developed sense of their perspective Their ways of seeing in these icons an interaction of image, aesthetics, and emotion force us to look at the photographs again and again Even if we end up seeing these images differently, we cannot help but comprehend their view, and we cannot simply look away Importantly, Hariman and Lucaites' stance from the beginning of the book is that theirs is not the only valid or useful perspective This allows readers to retain or craft their own way of seeing while developing an understanding of how the authors vision the image Interpretation of the iconic photograph thus becomes a source of dialogue, a locus of interaction where different views can be brought together to develop a better sense of who we--that is, those for whom the image resonates as an icon of our liberal-democratic culture--are …

No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy

nouns, 53 Academy (Plato’s), 70, 108, 112, 118, 135, 360, 384, 386, 390 Academy (Isocrates’), 384, 386 Acanthus/Acanthians, 224 Achaean League, 274–275, 278, 280

A companion to Greek rhetoric

Introduction: Shipwreck1. Contesting Virtuousity: Agonism and the Production of Arete2. Sophistic Metis: An Intelligence of the Body3. Kairotic Bodies4. Phusiopoiesis: The Arts of Training5. Gymnasium I: The Space of Training6. Gymnasium II: The Bodily Rhythms of Habit7. The Visible Spoken: Rhetoric, Athletics, and the Circulation of HonorConclusion

Bodily Arts: Rhetoric and Athletics in Ancient Greece

Kenneth Burke may be best known for his theories of dramatism and of language as symbolic action, but few know him as one of the twentieth century's foremost theorists of the relationship between language and bodies. In Moving Bodies, Debra Hawhee focuses on Burke's studies from the 1930s, 40s, and 50s while illustrating that his interest in reading the body as a central force of communication began early in his career. By exploring Burke's extensive writings on the subject alongside revealing considerations of his life and his scholarship, Hawhee maps his recurring invocation of a variety of disciplinary perspectives in order to theorise bodies and communication, working across and even beyond the arts, humanities, and sciences. Burke's sustained analysis of the body drew on approaches representing a range of specialities and interests, including music, mysticism, endocrinology, evolution, speech-gesture theory, and speech-act theory, as well as his personal experiences with pain and illness. Hawhee shows that Burke's goal was to advance understanding of the body's relationship to identity, to the creation of meaning, and to the circulation of language. Her study brings to the fore one of Burke's most important and understudied contributions to language theory.

Moving Bodies: Kenneth Burke at the Edges of Language

This essay reflects on the last 100 years of sensation in the journal to figure out where and when scholars in the field have concerned themselves with sensuous activity, how that activity is seen to interact with language, knowledge, and speech. The past can serve to some extent as a “rough guide,” showing gaps and leaps as well as modeling specific approaches.

Rhetoric's Sensorium

This article culls a theory of rhetorical vision from Aristotle's Rhetoric by examining the cluster of terms that bears on his theory of visual style. Rhetorical vision stands apart from but complements visual rhetoric in that it attends to the rhetorical and linguistic conjuring of visual images—what contemporary neuroscientists call visual imagery—and can even affect direct perception. The article concludes by examining rhetorical vision in Demosthenes' Epitaphios. At stake in this investigation is the visible and visual liveliness of rhetoric and its ability to alter sense perception.

https://uirsrg.files.wordpress.com/2013/01/hawhee_aristotle-rhetorical-vision-4-2011.pdf

Looking Into Aristotle's Eyes: Toward a Theory of Rhetorical Vision

or rhetoric and composition, the last decade of the twentieth century might be deemed "The Return of the Ancients." In many ways, contemporary scholars have taken up an earlier resurgence of the ancients, one that began decades earlier with what have since become standard historical treatments of the ancients (Kennedy, Kerferd, and Guthrie), and, perhaps most notably, in 1972, when Rosamond Kent Sprague's volume The Older Sophists made available the sophistic fragments in translation for the first time. But recent work aims to be more connective: rather than writing history for the sake of history, scholars such as Janet Atwill, Richard Enos, Susan Jarratt, John Poulakos, Takis Poulakos, Kathleen Welch, Victor Vitanza, and most recently Jeffrey Walker (Rhetoric) have reclaimed, refigured, and reread Aristotle, Isocrates, and the sophists, delineating ways in which these ancient figures might help us reframe or reconsider contemporary debates about pedagogy. The connections to feminism (arratt), cultural studies (T. Poulakos and Welch), postmodernism (Vitanza and Atwill) and the liberal arts (Atwill and Walker) have been convincing enough to spark renewed and broadened interest in how the ancients conceptualized rhetoric, how they taught, what they did. In many ways what follows is also a return to the ancients, but rather than attempt to connect the ancients to discourse already in circulation-an important task, to be sure-I want to instead explore a connection that inhered in ancient practices, a connection that isn't as apparently relevant to contemporary pedagogy, but as I will suggest just might be: that between rhetorical training and athletic training. It is important to note at the outset, as many writers have pointed out (for

Debra Hawhee

Papers

Bodily Arts: Rhetoric and Athletics in Ancient Greece

Moving Bodies: Kenneth Burke at the Edges of Language

Rhetoric's Sensorium

Looking Into Aristotle's Eyes: Toward a Theory of Rhetorical Vision

Bodily Pedagogies: Rhetoric, Athletics, and the Sophists' Three Rs.