All around society, examples are found for how the debate for equality is being rhetorised, giving various suggestions for how the struggle should, or may, be fought, as well as suggestions for who and whom should be included within the term equality. Here a study is presented on the feminst equality campaign SheForHe and the debate article ”Men can – but you need our help”, in which a critique of malevolent norms of masculinity encourages women to free the man from the chains of patriarchy. The purpose is to investigate how, within the perspective of rhetorics, the article can be seen as to challenge the present discourse in the debate about equality through the following questions: Which motives are being constructed? Which rhetorical strategies are at play? Which ”men” and which ”women” as well as their internal relations are constructed? This is done based on Kenneth Burke’s theories on dramatism and the pentad as method of analysis for change of perspectives, as well as Karlyn Khors Campbell’s theories on the rhetoric of women’s liberation. The analysis is discussed drawing from Judith Butler’s terms performativity and the heterosexual matrix. The main conclusion is that the article can be seen as a rhetorical action in solidarity that through a societal critique aims to offer men new possibilties of identification. At the same time the article can be regarded as, within the scope of the equality debate, a rhetorical provocation that gives women actorship in the struggle for equality and highlights a male dominance within the debate. A further conclusion is that the article, although it may be viewed as an important act of resistance, is at risk of reproducing the view of ”men” and ”women” as homogenous collective identities, further constituting the gender system and contributing to the consolidation of a learned mandatory heterosexuality.

Submitted by Filipe dos Santos (fsantos@pucsp.br) on 2016-11-30T11:40:48Z No. of bitstreams: 1 José Roberto Soares Junior.pdf: 1855103 bytes, checksum: e815cbbdb97d96c7c302f12b101fd77e (MD5) / Made available in DSpace on 2016-11-30T11:40:48Z (GMT). No. of bitstreams: 1 José Roberto Soares Junior.pdf: 1855103 bytes, checksum: e815cbbdb97d96c7c302f12b101fd77e (MD5) Previous issue date: 2016-10-10 / Conselho Nacional de Desenvolvimento Científico e Tecnológico / This study is focused on the life and academic work of the British historian Peter Burke, a subject historical holder of an extensive and multiple work. To understand it, we set out to look for the fundamental categories that give meaning to his work as a historian. So through the nodes that support his work, it becomes possible to understand that each specific analyzed here is part of that classify as the universality of the author's work. The method used here was to let the author speak, that is, we always start historian Peter Burke to get to our actual analysis. His career was and is always marked by the presence in academic environments, from a young age was interested in history and the arts. He studied at Oxford, taught at Sussex and later moved to Cambridge, where he is professor emeritus already retired. It was one of the first historians concerned effectively to promote interdisciplinarity between history and its sister sciences, such as sociology, anthropology, geography and others. It is an expert historian in European history; Italian Renaissance; cultural history; history of languages; history of knowledge, always concentrate these studies between "culture" and "society" specifically the fifteenth century to the eighteenth. In its original historiographical school, English, developed and could enjoy from the presence of historians like Christopher Hill, Eric Hobsbawm, E. P. Thompson and his tutor Keith Thomas. Outside his school sought innovations in Annales, was greatly influenced by Fernand Braudel, was concerned with the history of "high culture", always thought of as not devoid of circularity which Bakhtin preached. Today is the greatest exponent of the English cultural story, a polymath authentic. In Brazil, taught at USP as a visiting professor from 1994-95, is married to Brazilian Professor Maria Lucia Garcia Pallares-Burke 27 years ago, sharing with her interest in the work of the sociologist Gilberto Freyre. Currently has more than thirty books published in Portuguese, almost all in Brazil / O presente estudo está centrado na vida e obra acadêmica do historiador britânico Peter Burke, um sujeito histórico detentor de uma obra extensa e múltipla. Para compreendê-la, nos dispusemos a buscar as categorias fundamentais que dão sentido ao seu trabalho como historiador. Assim através dos nós que dão sustentação à sua obra, se torna possível entender que cada especificidade aqui analisada faz parte integrante do que classificaríamos como a universalidade da obra do autor. O método utilizado aqui foi deixar o autor falar, ou seja, partimos sempre do historiador Peter Burke para chegarmos às nossas análises efetivas. Sua trajetória foi e é marcada sempre pela presença em ambientes acadêmicos, desde muito jovem se interessava por história e pelas artes. Estudou em Oxford, lecionou em Sussex e posteriormente se transferiu para Cambridge, onde é professor emérito já aposentado. Foi um dos primeiros historiadores efetivamente preocupados em promover a interdisciplinaridade entre a história e suas ciências irmãs, como a sociologia, a antropologia, a geografia e outras. É um historiador especialista na história europeia; Renascimento italiano; história cultural; história das línguas; história do conhecimento, tendo sempre concentrado esses estudos entre a “cultura” e a “sociedade” especificamente do século XV ao XVIII. Em sua escola historiográfica original, a inglesa, se desenvolveu e pôde desfrutar-se da presença de historiadores como Christopher Hill, Eric Hobsbawm, E. P. Thompson e seu tutor Keith Thomas. Fora de sua escola buscou inovações nos Annales, sofreu grande influência de Fernand Braudel, se preocupou com a história da “alta cultura”, sempre pensada como não desprovida da circularidade a qual Bakhtin pregava. Hoje é o maior expoente da história cultural inglesa, um autêntico polímata. No Brasil, deu aulas na USP como professor visitante entre 1994-95, é casado com a professora brasileira Maria Lúcia Garcia Pallares-Burke há 27 anos, compartilhando com ela o interesse pela obra do sociólogo Gilberto Freyre. Atualmente possui mais de trinta livros publicados em português, quase todos no Brasil

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This thesis examines the intellectual foundation of the London Corresponding Society’s (LCS) efforts to reform Britain's Parliamentary democracy in the 1790s. The LCS was a working population group fighting for universal male suffrage and annual parliaments in a decade that was wrought with internal social and governmental tension. Many Britons, especially the aristocracy and those in the government, feared the spread of ideas of republicanism and equality from revolutionary France and responded accordingly by oppressing the freedom of speech and association. At first glance, the LCS appears contradictory: it supported the hierarchical status quo but fought for the voice and representation of the people; and it believed that the foundation for rights was natural but also argued its demands for equal rights were drawn from Britain’s ancient unwritten constitution. This thesis contextualizes these ideas using a contemporary debate, the Burke-Paine controversy, as Edmund Burke was the epitome of eighteenth century conservative constitutionalism in Reflections on the Revolution in France while Thomas Paine’s Rights of Man represented a Lockean interpretation of natural rights and equality. Thus using Reflections and Rights of Man as a framework, this thesis demonstrates that the LCS thoroughly understood its demands for parliamentary reform and uniformly applied its interpretation of natural rights and equality to British constitutionalism and the social and governmental hierarchies.

Hurricane Katrina devastated New Orleans, the Gulf Coast and the United States in August of 2005. While an emerging literature base details the consequences and lessons learned from Hurricane Katrina, a critical missing piece for understanding Hurricane Katrina American landfall is a rhetorical perspective. I argue a rhetorical perspective can significantly contribute to a better understanding of Hurricane Katrina’s implications for creating policy, community and identity. As a case study, I employ Kenneth Burke’s cluster analysis to examine the use of the label “Third World” to describe New Orleans, the Gulf Coast and the United States in the mass media coverage of Hurricane Katrina.

If I relate beauty to nothingness, what happens? Is nothingness sort of an absence of beauty? Or it is portrayed by our culture and society, and, in such case, can I define this absence of beauty? Is it beauty that you cannot even catch? Is its appearance neutral, almost hidden? When we are born, we all have the same degree of beauty and purity, which is progressively lost as long as we start growing up. In a life span, we accumulate wrinkles, and defects and dirt which needs to be concealed in order to fit in certain social categories. But our bodies register all the marks, absorb all the signs and impurities, likewise filters. We don’t necessarly perceive our own dirt or impurities as disgusting, whereas, in the clash with the other, we automatically are ahsamed of it. Same way, we tend to regard the other’s dirt as disgusting, not our own, very private dirt. Dirt is matter out of place, so is ugliness. The stain must be cleansed, purified as it represents a threaten for beauty. It is subtracting clean space to beauty. We are part of a society that intimates us to clean up, shape up, hide your -very human- dirt under the carpet. But beauty, nor humanity, would not exist without that dirt. We do absorb impurities all life long. And that is what makes us what we ultimately are: humans. Dirt paradoxically works as a protection: the dirtier we are, the less afraid of getting dirty we will be. In the society we live in exist many difficulties when it comes to find an identity as humans and a position in it. We are often put in a situation of having to follow: a certain career, a living style, an ideology, somebody’s else opinion, what to consume, school systems. Etcetera. In such a society, and because of this “follower-like”, passive position, where we mostly have to repeat the same living patterns, it got harder and harder to retrieve the meaning of things and to understand where we come from. Who we really are. We tend to put on uniforms or masks to fit in different standardazied situations. Everything and everybody has to fit in its or his standard place. This way our intrinsic human beauty is concealed and somehow controlled. With my essai, I try to look under the carpet, undress, unmask and reach a new definition of beauty: a naked beauty, not concealed nor camouflaged. The beauty we all deeply share, unpretentious and honest. A beauty of nothingness: something I see or feel, but about which I keep wondering whether it is or it is not beauty. To develop such new definition of beauty, I recollect ideas and concepts of beauty from the past, with a main reference to western society: from beauty models in the ancient Greece, Apollonian VS Dionysian, to the Sublime, untill the present time. I try to define what purpose and non-purpose beauty is. What is ugliness and dirt and how they both are a prerequisites of beauty. I finally take a more personal look upon contemporary society and how its mechanisms define a beauty which is standard. It is starting from a reflexion about standard society and beauty, that I then define a more intrinsic human beauty. Such unevokable sensation of beauty is extremely subtle, hard to acknowledge: one needs to train ones eyes and go beyond the layers, to discover the beauty of nothingness.

Recent debates as to the place of Old South symbols and institutions in the South of the new millennium are evidence of a changing order in the South. I examine -- from a rhetorical perspective informed by Kenneth Burke's theory of identification and division -- four debates that have taken place in the South and/or about the South over roughly the past decade, 1995 to the present. In this decade, Southerners and interested others have debated such issues as 1) admitting women to the Virginia Military Institute and the Citadel; 2) integrating displays of public art in Richmond to feature Confederates and African Americans side by side; 3) continuing to fly the Confederate battle flag in public spaces such as the South Carolina Capitol or including it in the designs of state flags such as those of Georgia and Mississippi; and 4) allowing Mississippi Senator Trent Lott, who seemed to speak out in support of the South's segregated past, to continue in his position of Senate leadership. Looking at each of these debates, it is clear that at issue in each is whether the ruling order of the South should continue to be one of division or whether that order should be supplanted by identification. Judging from the outcomes of the four debates analyzed here, the order of division seems to be waning just as the order of identification seems to be waxing in influence over the turn-of-the-millennium South. But a changing South is no less a distinctive, continuing South. I argue that a distinctive Southern culture based on a sense of order has existed and continues to exist amidst the larger American culture. If some form of "Southernism" is to continue as a distinctive mindset and way of life in the twenty-first century, Southerners will need to learn to strike a balance between their past, with its ruling order of division, and the present, with its ruling order of identification.

Due to their inclusion of characters or objects that are the result of scientific investigation or subject to scientific scrutiny, Frankenstein, Strange Case of Dr Jekyll and Mr Hyde, and “The Colour Out of Space” are works that may be classified as science fiction. However, despite these narratives’ engagement with scientific practice, at crucial moments when scientific description would be expected, it is prominently absent. This report investigates the effects of these absences within the narratives and suggests that such absences do not appear due to the author’s unfamiliarity with the science of her or his era, but rather serve the positive purpose of creating the effect of the sublime through horror, which is most effective when the reader is forced to confront the unknown or unreadable. To corroborate this hypothesis, this report also examines the treatment of certain hybrids within the three stories and the way that the terror they inspire seems to rely on the ways in which they mingle the known with the unknown and resist coherent description. Overall, this report seeks to illuminate the complex interaction of the known and the not yet known that has enabled a fruitful interaction between science fiction and horror as genres since the inception of science fiction as a definable genre. / text

This work introduces the idea of mysterious criticism as a viable means by which to critique, explain, and understand the role that hierarchy plays in human social relations. It scrutinizes the works of Kenneth Burke and others to explain the role that mystery plays in human hierarchical circumstances, and becomes a foray into popular culture as a suitable object by which to explicate the form of critique offered in its pages as well as providing fruitful sources for the study of hierarchy in the beginning of the 21st century. / text

Gothic literature has a tradition of dealing with dark subjects, themes and motifs, as well as depicting fear in different shapes and forms. Dani Cavallaro describes dark fiction in terms of the "aesthetic of the unwelcome". The philosopher Edmund Burke separates the beautiful from the sublime and writes that everything that is capable of producing a terror of pain and death is a source of the sublime. In her essay "On the Supernatural in Poetry", Ann Radcliffe draws a clear line between the concepts of terror and horror and distinguished them as fundamentally different. In this essay, I define the terms horror and terror by following up the research surrounding Radcliffes statement. I begin with the concept of terror that Burke and other writers define as an elevated and positive feeling, then move on to account for the discussion surrounding Matthew Lewis' novel The Monk. It was considered pornographic, lewd and outright dangerous in its obscenity with blatant depictions of violence, gore and sex. Since Radcliffe and Lewis were contemporary I reckon that it is profitable to explore this tension further in my essay. From Radcliffe and Lewis I find out how the concepts of terror and horror have developed with time and how modern theorists conceive this distinction.