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1	Maverick Ethos: The Principles and Practice of PostIdentification Rhetoric McKenzie, Charles January 2005 (has links) Of all the boundaries that are discussed and argued in critical and rhetorical theory, one of the most central and persistently controversial is the boundary line in the binary Self/other. The dominant rhetorical theories since Aristotle tend to claim that it is by reducing the division in this most fundamental binary that the most efficacious rhetoric is effected; that is, that bringing parties Self and other closer together before argument (or whatever serves as symbol-exchange within the larger act of rhetorical exchange) is most likely to establish the best preconditions for immediately-following symbol-exchange: This act of getting-together is known as Identification. This dissertation introduces the theory of postidentification (postID), which suggests that recognizing, valorizing, and using the division between the parties in rhetorical exchange--not attempting to find, create, and use similarities--often makes for the most efficacious rhetoric, especially when efficacious means transformative. All extant rhetorical theory continues to be based on various interpretations and iterations of the enthymeme and the syllogism that require various levels of Identification and continue to privilege the dominant party in the exchange, that is, Self (or Same or Selfsame, as they appear and act in different contexts). These Identification rhetorics include rhetorics of resistance emerging from feminist, postcolonial, and queer critical theory. All of these extant theories are dependent on some form of Identification, which means that the more Self and other have in common before the symbol exchange--that is, the more like Selfsame other is forced to be--the likelier some one will be persuaded to change a belief or attitude or to cause action. The new rhetorical theory of postidentification uses differences instead of similarities to establish the preconditions for rhetorical exchange. In short, what postID does is push queer theory or GLBT theory to its logical end: If we can have GLBT theory, why not GLBTYUM<<RTOD##55zxto, etc. ad infinitum . . . theory? rhetorical philosophy radical alterity politics GLBT Queer Theory Language Reading and Culture Hermenuetics
2	Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style Nutting, Catherine M. 18 January 2018 (has links) Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams’ theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens’s case, these included the classical Stoic. While it would be possible to trace Rubens’s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens’s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens’s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers’ personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens’s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens’s style. / Graduate / 2023-12-14 Art History Peter Paul Rubens Baroque Baroque Painting Seventeenth-Century Antwerp Seventeenth-Century Art Style Baroque Style Stoicism Stoicism and Art Early Modern NeoStoicism Antwerp NeoStoicism Flemish NeoStoicism Seventeenth-Cenury Flemish Art Seventeenth-Cenury Flemish Painting Flemish Baroque Painting Stoicism and Style Stoic Ethics Stoic Ethical Philosophy Stoic Rhetoric Stoic Rhetorical Philosophy Stoic Physics Stoic Natural Philosophy Roger de Piles Seneca Seneca Naturales Questiones Tacitus Tacitus's Style Tacitus and Stoicism Stoic continuum Baroque unity Justus Lipsius Early Modern Library Macchia Sententiae Style and Meaning Quintilian Diogenes Laertius Epictetus Chrysippus Marcus Aurelius Early Modern Art Theory Rubens as a Theorist Antwerp Humanism Flemish Humanism Humanism in Flanders and Brabant The Self The Early Modern Self Style for Truth The Continuum Nature Alive Stoic Optimism Seventeenth-Century Stoic Optimism

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Maverick Ethos: The Principles and Practice of PostIdentification Rhetoric

Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Rubens’s Style