By Sharon J. Kirsch
For humanities students in addition to well known audiences, the connection among rhetoric and literature is still vexed, partly as a result of rhetoric’s modern association with composition, which makes it become independent from, if no longer subordinate to, the research of literature. Gertrude Stein famous no such separation, and this disciplinary policing of the learn of English has reduced our figuring out of her paintings, Kirsch argues. Stein’s profession spread out on the crossroads of literary composition and rhetorical conception, a website the place she alternately challenged, satirized, and reinvented the 5 classical canons of rhetoricinvention, association, type, reminiscence, and deliveryeven as she invented new trajectories of literary experimentation.
Kirsch follows Stein from her days learning composition and philosophy at Harvard via her expatriate years in France, status within the Nineteen Thirties, and event of the second one global struggle. She frames Stein’s explorations of language as a creative poetics that reconceived practices and theories of rhetorical invention in the course of a interval that observed the increase of literary stories and the decline of rhetorical experiences. via cautious readings of canonical and lesser-known works, Kirsch deals a resounding severe portrait of Stein as a Sophistic provocateur who reinvented the canons via creating a effective mess of canonical rhetoric and modernist different types of thought.
Readers will locate a lot of curiosity in Gertrude Stein and the Reinvention of Rhetoric. Kirsch bargains myriad insights to students of Stein, to these attracted to the interdisciplinary intersections of literature, rhetoric, and philosophy, in addition to to students and scholars within the box of rhetoric and verbal exchange reports. Positioning Stein as a big twentieth-century rhetorical theorist is especially well timed given expanding curiosity in ancient and theoretical resonances among rhetoric and poetics and given the ongoing loss of popularity for ladies theorists in rhetorical studies.
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Extra info for Gertrude Stein and the Reinvention of Rhetoric
Example text
In Everybody’s Autobiography, she follows the origi nal sentence with another problematizing one’s identity by connecting it to invention and to writing: “But was I I when I had no written word inside me” (66). This sentence calls into question the epistemological validity of the preceding sentence: is one’s identity shaped or known because “my little dog knows me,” because something outside of myself and outside of the sentence provides empirical evidence, or, as the second sentence suggests, am I I only when my ideas exist with written words?
The shift away from rhetoric toward literature, away from Greek and Latin toward English, away from oratory toward composition began at Harvard under the oversight of Charles W. Eliot, who served as president of Harvard from 1869 to 1909. Eliot is credited with creating one of the first modern universities in the United States based on the German model and including a graduate school, “Suppose a Grammar Uses Invention” / 25 electives, and additional far-reaching curricular reforms (Morison 329–399).
When Stein revises classical rhetoric’s first canon, she recalls earlier definitions of grammar and differentiates her own thinking: “A grammar has been called a grammar of diagram. . A grammar has been called a list of what is to 36 / Chapter 2 be done with it” (How to Write 56, emphasis added). Reducing grammar to a diagram or a list makes it useless. “Grammar is useless because there is nothing to say” (62). Without invention, grammar is useless; the writer merely follows rules and language merely mimes external objects or internal ideas.