Name der Zeitschrift: Semiotica Jahrgang: 2018 Heft: 225 Seiten: 213-227.

Ever since the rhetorical turn in education, education scholars have recognized the importance of rhetoric in constructing and mediating human society. They have turned to rhetorical theory to come to terms with this rhetorically mediated reality and to engage students as critical citizens within it. Much of this work draws on rhetorical theorist Kenneth Burke, but much of Burke’s work remains unexplored in this area. We argue that his theories can be part of a user’s guide to educate students about (...) rhetoric’s function in society, to educate them about the opportunities and pitfalls that rhetoric brings. In this essay, we offer his dramatistic pentad as part of this larger user’s guide. The pentad identifies the logical elements of action and provides a model that explains the “grammar of motives”. It also provides a method for analyzing statements of motives, which rhetorical critics have long used to describe and explain strategic constructions of motives. Although the pentad is relatively easy to teach and to understand, its application to particular discourses can reveal complex relationships among the elements of action, laying bare their operation within the grammar of motives. We claim that the pentad offers lessons for students to engage with important societal issues, lessons about the limitations of any one construction of motives and how to overcome those limitations. (shrink)

Ever since the rhetorical turn in education, education scholars have recognized the importance of rhetoric in constructing and mediating human society. They have turned to rhetorical theory to come to terms with this rhetorically mediated reality and to engage students as critical citizens within it. Much of this work draws on rhetorical theorist Kenneth Burke, but much of Burke’s work remains unexplored in this area. We argue that his theories can be part of a user’s guide to educate students about (...) rhetoric’s function in society, to educate them about the opportunities and pitfalls that rhetoric brings. In this essay, we offer his dramatistic pentad as part of this larger user’s guide. The pentad identifies the logical elements of action and provides a model that explains the “grammar of motives”. It also provides a method for analyzing statements of motives, which rhetorical critics have long used to describe and explain strategic constructions of motives. Although the pentad is relatively easy to teach and to understand, its application to particular discourses can reveal complex relationships among the elements of action, laying bare their operation within the grammar of motives. We claim that the pentad offers lessons for students to engage with important societal issues, lessons about the limitations of any one construction of motives and how to overcome those limitations. (shrink)

Over the last few decades there has been a strong narrative turn within the humanities and social sciences in general and educational studies in particular. Especially Jerome Bruner’s theory of narrative as a specific ‘mode of knowing’ was very important for this growing body of work. To understand how the narrative mode works Bruner proposes to study narratives ‘at their far reach’—as an art form—and on several occasions he refers to the dramatistic pentad as an important method for (...) ‘unpacking’ narratives. The pentad proposed by Bruner to study narratives was developed by the American philosopher and rhetorician Kenneth Burke and is embedded in his general linguistic theory of dramatism. From an educational perspective Bruner’s reference to the work of Burke has not been elaborated upon thus far. In this paper we aim to take Bruner’s suggestion at hand and explore how his educational theory of narrative as a mode of knowing can indeed be enriched by Kenneth Burke’s theory and method of dramatism. We claim that specifically the rhetorical framework that is developed by dramatism offers an important perspective about perspectives for education in a context that is increasingly confronted with a plurality of interpretive frameworks. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Questioning the Motives of Habituated Action:Burke and Bourdieu on PracticeDana AndersonThe British official's habit, in the Empire's remotest spots, of dressing for dinner is in effect the transporting of an idol, the vessel of a motive that has its sanctuary in the homeland.—Kenneth Burke, A Grammar of Motives, 44In his recent Kenneth Burke and the Conversation after Philosophy, Timothy Crusius locates Burke in the context of "PostPhilosophical" thought by (...) describing Burke's expansive Dramatistic project as a praxis—as a program encompassing "any act whatsoever, including symbolic action (i.e., expression, whether artistic or discursive), in behalf of a better life." When praxis is conceived broadly as a dialectical perspective on human action—that agents and structures interact in mutually determining ways—the term becomes, in fact, an accurate summary of the entire Burkean corpus: "If we understand it as Burke does," Crusius continues, "all that he wrote is praxis" (1999, 198). This panoramic scope of Burke's dialectical inquiry is certainly one reason it remains rhetorical theory's perhaps most flexible and productive framework for considering human action; the Dramatistic pentad and its ratios for discussing the attribution of motive continue to invite theoretical "ways of placement" as multifaceted as human motives themselves.Speaking of Burke's work in terms of praxis, however, at least in the term's contemporary critical usage,1 raises a question regarding a cognate concept that the idea of praxis entails: in what sense is Burke's pentadic grammar of action equipped to consider the habituated actions characteristic of human practice?Practice, as a conceptual descendant of Marxian praxis, retains a connection with what Marx called "human sensuous activity" (1968, 28-30).2 In its most general sense, practice refers to the regular and repeated activities of agents that, in their quotidian enactment, dialectically [End Page 255] constitute an agent's sense of self and of reality in relation to external conditions of existence. While the activities of agents will tend to reify the dominant external conditions in which agents act, these external conditions are nonetheless open to change inasmuch as the evolving practices of individuals might come to challenge them. This perspective of the determined, yet determining nature of human practice is aptly summarized in The German Ideology, where Marx and Engels famously argue that "circumstances make men just as much as men make circumstances" (2000, 189).3 As Michel de Certeau's seminal studies of practice have demonstrated (de Certeau 1984; de Certeau, Giard, and Mayol 1998), the power of this relationship of mutual constitution between individuals and their worlds of external circumstances owes directly to the banality of the actions through which such constitution is accomplished—actions ranging from the way bread is served in a given household, to the way cosmetics are purchased in department stores, to the general "ways of operating" in urban spaces, including simply walking in one's own neighborhood (de Certeau, Giard, and Mayol 1998; Mayol 1998, 7-13). As Judith Butler very poignantly summarizes, it is through precisely such "embodied rituals of everydayness," however "taken-for-granted" they may be, that "a given culture produces and sustains belief in its own 'obviousness' " (1999, 113-14).The constitutive dynamics of such practical actions should surely figure prominently into any conception of Burke's work as praxis. Indeed, this dynamic is already implicit in the fact that, for Burke, it is only through the possibility of mutually transforming both ourselves and our worlds through actions material and symbolic that we might begin to move toward a better life. But while Dramatism and practice rest on similar perspectives of the dialectically constitutive nature of human action, several aspects of the grammar through which Burke investigates motive might appear to limit, or even to preclude, the Dramatistic examination of practice as a kind of motivated action. More specifically, Burke's consistent "anti-Behaviorist" emphasis on the conscious or purposive nature of action questions the extent to which Dramatism can account for the dispositional and habituated actions characteristic of practice, actions for which agents would be least able to articulate conscious purposes. To cast the issue in the context of my epigraph above... (shrink)

Combat deployments put health care providers in ethically compromising and morally challenging situations. A sample of recently deployed nurses and physicians provided narratives that were analyzed to better appreciate individual perceptions of moral dilemmas that arise in combat. Specific questions to be answered by this inquiry are: 1) How do combat deployed nurses and physicians make sense of morally injurious traumatic exposures? and 2) What are the possible psychosocial consequences of these and other deployment stressors? This narrative inquiry involves analysis (...) of ten deployed military nurses’ and physicians’ aversive or traumatic experiences. Burke’s dramatist pentad is used for structural narrative analysis of stories that confirm and illuminate the impact of war zone events such as betrayal, disproportionate violence, incidents involving civilians, and within-rank violence on military health care provider narrators. Results indicate cognitive dissonance and psychosocial sequelae related to moral and psychological stressors faced by military medical personnel. Discussion addresses where healing efforts should be focused. (shrink)

Prof. Kitto studies the parts played by Man and God in Sophoclean drama. He argues that they are essentially complementary, and that if one fails to appreciate the significance of Sophocles' religious teaching, one will fail to understand his literary and dramatic artistry.

Professor Randall is already well known to students of Greek philosophy through his lively book on Aristotle published in 1960. If his treatment of the Stagirite had more of Aristotle than of Randall, the same can hardly be said of the present work, which is decidedly more Randall than Plato. Indeed it might fairly be described as a dramatic reverie on Plato. None the worse for that of course, since the touch of Socrates was meant to stimulate, but the reader (...) should be warned in advance not to expect the measured treatment of a Taylor or a Friedländer. (shrink)

ABSTRACT In this essay, we utilize pentadic cartography to analyze Xi's keynote speech in the Belt and Road Forum in May 2017. Following the steps offered by Anderson and Prelli, we first identified the five pentadic terms in Xi's speech and then located two potential mappings with different featured ratios: agency-act in the first mapping and scene-agent in the second. Examining the two potential mappings of Xi's keynote, this paper argues that by constructing the BRI as a ‘great undertaking’ benefiting (...) all mankind, Xi attempted to enhance the influence of China's discourse, the soft power, and demonstrated his competence to lead the world to prosperity. Finally, we provided an alternative pentadic ratio to counter the dominant one discovered in the second mapping aiming to reopen the closed universe of discourse. (shrink)

The thesis of this book is that there is a philosophy implicit in Plato's dialogues, but philosophers cannot agree about its content because it is the imaginative vision of a way of life, rather than a system. The positions advocated are characters in a dramatic conflict of ideas, written by a poet for an audience of intellectuals and depicting with irony, ambiguity, and consummate artistry the Idea of Talk. Plato's own position is that in an imperfect world we can have (...) a vision of it perfected and, in the light of this vision, can see the really real, that is, what is worthwhile. This is, however, neither metaphysics nor epistemology, but a value statement and an attitude toward life. Plato is saying that knowledge of the Good is knowledge of man's possibilities, and that to know the Good is to love the Good, to make passionate commitment to the object of knowledge. Other points: Immortality is not future life but present life lived in the vision of the Ideal. The Republic is not a program but an ironic picture of the Idea of the Spartan state, warning that, while the search for perfection is the source of all order in life, overemphasis of a single value is the death of the rest. Plato advised the study of mathematics because, since it comes to indisputable conclusions, he hoped it would teach that intellectual rigor which the humanities and social sciences, being matters of opinion do not. Plato's doctrine emerges only from the earlier, "Socratic" dialogues. The later ones are dogmatic, rather than dramatic, and seem to provide starting points for Aristotle.--L. G. (shrink)

The rhetorical attitude -- Emotions and their moments -- Identity and emotions in dialogue -- The dialogic of madness: quantum theory, mirror neurons, and emotions -- Identity and the dialogic of reading, looking, and watching -- Revels and raptures.

Similarities between ancient Greek philosophy and Indian philosophy have long been recognized and are usually ascribed to East-West contact. However, when similarities are recognized between Greek and Indian poetic diction or, more generally, between the myths and the poetry of the two cultures, they are often ascribed to Indo-European common origin; and one asks whether the same explanation could apply in philosophy. The two types of explanation are not incompatible, for a remote common origin could have been followed by one (...) or more periods of interaction. Nevertheless, it is worth seeing how far an explanation of common origin can be pressed before falling back on the explanation of contact. (shrink)

This new and important introduction to Seneca provides a systematic and concise presentation of this author’s philosophical works and his tragedies. It provides handbook style surveys of each genuine or attributed work, giving dates and brief descriptions, and taking into account the most important philosophical and philological issues. In addition, they provide accounts of the major steps in the history of their later influence. The cultural background of the texts and the most important problem areas within the philosophic and tragic (...) corpus of Seneca are dealt with in separate essays. (shrink)

Statesman, dramatist, philosopher, and prose stylist, Seneca was a leading figure in the Roman Empire in the first century AD. This volume is a collection of outstanding articles written about him during the last four decades, with a new introduction which places the articles within the context of recent academic thought and criticism. - ;Seneca was a man of many facets: statesman, dramatist, philosopher, prose stylist. His life was marked by extremes of fortune - extremes that are reflected in much (...) of his writing, and in the vicissitudes of his reputation in later centuries. This volume bring. (shrink)

One of the greatest dramatists of all time, Shakespeare, recognized that dramatic action was not limited to the stage. Now, in Drama and Intelligence, a work firmly rooted in developmental drama, Richard Courtney is the first to examine dramatic action as an intellectual and cognitive activity. Courtney explores the nature of those experiences we live "through" and which involve us in what is termed "as if" thinking and action.

Livy’s first pentad of Ab Urbe Condita begins and ends with the founding and refounding of the city. Both are achieved first through violence and then through the establishment and re-establishment of religious authority and the restoration of Rome’s relationship with its gods. This article examines the connection Livy makes between Numa and Camillus and the place of religion within the refoundation narratives. The religious topography of Rome is essential to Camillus’ argument for the Romans to remain in the (...) city following the Gallic sack. By citing particular priesthoods, the flamen Dialis and the Vestal Virgins in particular, both of which were established or developed by Numa, Livy not only constructs Camillus as a new Numa but also promotes these priesthoods as monumenta. Camillus’ speech forges direct connections between Rome’s conditores, the topography of the city, the devotion to its gods, and the city’s continued glory. (shrink)

Sylvia Wynter, novelist, dramatist, cultural critic, and philosopher, has called for a new poetics that “will have to take as its referent subject, that of the concrete individual human subject”. By “referent subject” Wynter means a shared sense, poetic in nature, that can nevertheless exclude many who are also expected to live it. Man, Wynter argues, as a referent subject first appeared in the Italian Renaissance. As Walter Mignolo has argued, this way of representing an individual is made visual in (...) Leonardo da Vinci’s Vitruvian Man, a man of perfect... (shrink)

Albert Camus, novelist, essayist, dramatist, and recipient of the 1957 Nobel Prize for Literature, is esteemed as one of the finest philosophical writers of modern France. The French existentialist philosopher, Jean-Paul Sartre wrote about him as "the latest example of that long line of moralistes whose works constitute perhaps the most original element in French letters." Camus' literary legacy includes three novels, namely L'Etranger of 1942, La Peste of 1947, and La Chute of 1957, and a fourth unfinished one that (...) was posthumously published as The First Man in 1995. Camus' works both intensively and extensively explored the theme that was prevalent in the intellectual climate of the post-World War II Europe, the absurdity of human existence together with the notions of alienation and disillusionment, and speculated beyond the crushing pessimism a glimmering faith on human dignity and brotherhood. These concerns, no matter how well ingrained they may be in the European history of ideas, would prove to be too cognitively remote for a contemporary Filipino reader. Thus, there is a need to mediate Camus' literary discourses with a more familiar Filipino text. (shrink)

Closely based on the dramatist’s personal experience, Christina Reid’s The Belle of the Belfast City offers a commentary on the life of the Protestant working class in the capital of Northern Ireland in the 1980s from a woman’s perspective. It shows the way eroticism is successfully used by the female characters as a source of emancipation as well as a means not only to secure their strong position in the private domain of the household, but also to challenge the patriarchal (...) structures that prevail in the Irish public sphere. The analysis of the play proposed in this essay focuses on the contrast between the presentation of its male and female characters. I will demonstrate that, while the former group desperately cling to the idea of preserving the social status quo, the latter display a more progressive outlook on the social and sexual politics of the country. In particular, I will investigate how the tensions between the representatives of the two sexes reveal themselves in the corporal sphere. I will argue that, as opposed to the erotically-inhibited and physically-inarticulate male characters, the female dramatis personae take advantage of being more connected to their bodies and use their physicality in an erotic fashion to subvert the rules of the patriarchal system and its strict moral code that limits their social roles to those of respectful mothers, obedient sisters or virtuous wives. (shrink)

The poet and dramatist Friedrich Schiller was also a profound philosopher, who described his work On the Asethetic Education of Man as 'the best thing that I have done in my life'. This impassioned treatise analyses politics, revolution and human nature to define the relationship between beauty, art and morality. Expressed as a series of letters to a patron, it argues that only an aesthetic education--rather than government reform, religion or moral teachings--can achieve a truly free society, and must be (...) placed at the heart of human experience. One of the most important works of German philosophy, its arguments remain as arresting and inspiring as when they were first written. (shrink)

Despite the great dramatists of the preceding century—Corneille, Racine and Molière—the 18th century is often considered the great age of French theatre. Obviously “the great age” should not be understood in the usual literary history sense as the “classical age”, for the structures and the content of French dramas originating in the 18th century did not have normative effects on the dramatic production of the centuries that followed. Nevertheless, we are doubly right in using the term “the great age” for (...) French theatre of this period. On the one hand, from the viewpoint of the history of theatre, because certain dramatic techniques originating toward the middle of the 18th century have, down to our own times, influenced theatre so decisively and have become so natural that they form true hermeneutical barriers to the interpretation of plays from earlier epochs. And secondly from the viewpoint of social history, for theatre attendance at that time was indissolubly linked to the everyday life—or at least to holidays and festive occasions—of various social levels in France. As a result we can no doubt consider the theatre as the decisive center of critical knowledge, the gradual transmission of which is at the very heart of the process of the Enlightenment. (shrink)

Gotthold Ephraim Lessing, thinker, dramatist and controversialist of many-sided interests, is the most representative figure of the German Enlightenment. His defence of Spinoza, who had traditionally been condemned as an atheist, provoked a major controversy in philosophy, and his publication of H. S. Reimarus' radical assault on Christianity led to fundamental changes in Protestant theology. This volume presents the most comprehensive collection to date in English of Lessing's philosophical and theological writings, several of which are here translated for the first (...) time. They are edited and translated by H. B. Nisbet, who also provides an introduction that sets them in their historical and philosophical contexts. (shrink)