[Classical Rhetoric For The Modern Student , Fourth Edition. New ....pdf
Eliora Shopbell
It's not about sexual harassment or power; it's about love. So says Socrates to his young lover in Phaedrus, a dialogue that has stirred controversy about the nature of rhetoric for a somewhat longer time.
Classical Rhetoric for the Modern Student , fourth edition. New ....pdf
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Realizing that Plato and Mamet held this common ground, I used Mamet's play as the focal point for reading and writing in my course in advanced persuasive writing, a senior- and graduate-level elective otherwise rooted in the fourth edition of Edward P. J. Corbett and Robert J. Connors's Classical Rhetoric for the Modern Student (1999). In describing my approach to this course, I will share selections from my students' writing. Doing so will document the value of Oleanna in helping students learn not only the ceremonial, [End Page 53] deliberative, and judicial modes of discourse associated with classical rhetoric but also the limitations of those agonistic modes, problems solved by the mediational practice of the new rhetoric. 1
I do not contend that all writing teachers should include Oleanna on their required reading lists. Indeed, I agree with Erika Lindemann (1993: 314) that they should not teach literature to evade their central charge: teaching students to write. But I also agree with Mariolina Salvatori (2000: 167) that all English classes, whether focused on writing or on literature, must engage students in "reading and writing as interconnected activities." I stand, too, with Gary Tate (1993: 321), who urges all writing instructors to invite their students to read from our "enormously rich body of literature," as well as from "nonfiction prose and the discourses of the various disciplines." With this long-standing cue, then, I will offer my Oleanna materials as a concrete application of these theoretical endorsements of using literature in writing classes at every level.
In presenting this sample of pedagogy, I also hope to answer the call of both composition theorists and literary theorists who have counseled faculty to revitalize English studies by focusing less on canons and periods and more on the rhetorical strategies and social contexts that shape all good writing. The compositionist James A. Berlin (1996: 88) centers Rhetorics, Poetics, and Cultures on this proposition: "The English classroom should . . . provide methods for revealing the semiotic codes enacted in the production and interpretation of texts, codes that cut across the aesthetic, the economic and political, and the philosophical and scientific, enabling students to engage critically in the variety of reading and writing practices required of them." The literary scholar Robert Scholes (1998: 161) shares Berlin's belief that English courses should stress the rhetorical nature of literature and the aesthetic nature of rhetoric. Scholes therefore predicts in The Rise and Fall of English that "the future will belong" to English departments "wise enough to embrace rhetoric and . . . to find ways of connecting . . . contemporary texts to their more traditional concerns."
Berlin and Scholes, of course, do not stand alone in their concern for the "fall of English." Denis Donoghue (1997: 123) believes that "the purpose of reading literature is to exercise or incite one's imagination, specifically one's ability to imagine being different," and that English professors have been "timid in describing the relation between...
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Classical Rhetoric for the Modern Student, 4th EditionBOOK DETAILAmazon Business : For business-only pricing, quantity discounts and FREE Shipping. Register a freebusiness account Hardcover: 562 pages Publisher: Oxford University Press; 4th edition (August 6, 1998)Language: English ISBN-10: 0195115422 ISBN-13: 978-0195115420 Product Dimensions: 9.3 x 1.2 x 6.3inches Shipping Weight: 2.2 pounds (View shipping rates and policies)Step By Step To Download Or Read Online1. Click Button "DOWNLOAD" Or "READ ONLINE"2. Sign Up To Acces "Classical Rhetoric for the Modern Student, 4th Edition"3. Choose the book you like when you register4. You can also cancel your membership if you are bored5. Enjoy and Happy Reading
Book DescriptionWidely used in advanced composition and writing courses, Classical Rhetoric for the ModernStudent discusses the three vital components of classical rhetoric--argument, arrangement, andstyle--bringing these elements to life and demonstrating their effective use in yesterday's andtoday's writing. Presenting its subject in five parts, the text provides grounding in the elementsand applications of classical rhetoric; the strategies and tactics of argumentation; the effectivepresentation and organization of discourses; the development of power, grace, and felicity inexpression; and the history of rhetorical principles. Numerous examples of classic andcontemporary rhetoric, from paragraphs to complete essays, appear throughout the book, manyfollowed by detailed analyses. The fourth edition of Classical Rhetoric for the Modern Studentfeatures a new section on the Progymnasmata (classical composition exercises), a new analysis ofa color advertisement in the Introduction, an updated survey of the history of rhetoric, and anupdated section on "External Aids to Invention."
I have found that Corbett is the best overview of the scope of writing, and would recommend it as a must read for anyone interested in teaching writing to her children up through high school. Corbett sorts classical writing into the 3 canons: Invention, Arrangement, and Elocution, and I have found that organization perfect to sort the different curriculum into.
Invention: by far the best curriculum I have read to improve a student's invention is Lost Tools of Writing. It uses the exact same list of Common Topics found in Corbett. However, when I read Corbett, I just could not understand how to get from the list of topics to putting them into an essay. And in WWS and CW I was spoon fed too much, so I could not really see the forest through the trees and implement it on my own. LtoW teaches the student how to ask questions based on the Common Topics and then how to arrange them into an argument. Also, LtoW and CW are the only curriculum that give any attention to the Special Topics associated with judicial, deliberative, and ceremonial discourse. The Lively Art of Writing has 2 excellent chapters on how to create a thesis statement. WWS (as planned for grades 5-8) studies half of the Common Topics listed in Corbett, I assume she will cover the rest in her high school curriculum WWStyle.
Elocution: Killgallon and Classical Writing tie IMHO for the best instruction on style of the sentences. They both have you play with sentences, change them around, evaluate how the new sentence augments certain aspects of an idea. LtoW teaches some extremely advanced stylistic features that are covered in Corbett. However, it does not spend enough time on each of these features for the student to actually be able to use them effectively. IEW teaches more formulaic style including a certain number of features for each paragraph, but it does not actually teach you HOW to change a sentence around. WWS so far has a fairly limited approach to style.
Critical Reading: Both WWS and CW require students to analyze classic writers to help them understand what makes writing effective. CW does this somewhat better than WWS. MCT has you read classic essays but does not spend much time guiding the student through them.
Classical Curriculum not using the progym: LtoW follows Corbett's text but does not use the progym exercises. It is an early Rhetoric curriculum that teaches persuasive writing. WWS also follows Corbett's text but does not use the progym exercises. However, in contrast to LtoW, WWS does not teach students about persuasive writing. Instead, it teaches each of the Common Topics (well, half of the Topics) that will be used later to construct a complete argument in a rhetorical composition.
Classical vs Modern writing: I have seen some discussion of this, and was confused for a while. But all this reading has cleared it up. In Ancient times there was a lot of time spent on ceremonial and judicial speech, to praise the fallen and to defend oneself (you acted as your own lawyer). These types of writing are not really done now, more of an ancient style. Also, many of the progym exercises use essay starters (like maxims etc) that are not commonly found today. WWS definitely uses more modern styles of writing than CW for example.
11th -12th : Rhetoric. We will be writing across the curriculum without a curriculum. For an overview of rhetoric, Ds will read Corbett both years; for critical reading, we will apply Corbett to essays; for arrangement, we will use They Say/ I Say; and for style we will continue with Killgallon.
I disagree with SWB about how difficult Corbett was to read. If you skip the part on logic, the rest of the text is straight forward and relatively easy to read. I found his examples and very lengthy discussion of them to be excellent, just excellent. And after studying all the topics, I think that I could now guide my son to analyze other's essay writing (like MLK or Rachel Carson) using my knowledge of the topics. Very very useful text, and I will definitely have my son read it twice in both 11th and 12th grades.
It is hard to tell what will be in the next 3 books of WWS, but in the first book, she just does not teach students how to manipulate sentences, how to increase their complexities, or how different grammatical changes change the meaning of a sentence. She always wants the student to logically connect sentences, but does not teach them how to do this. She also spends time with the thesaurus, but does not spend time on using verbals or subordinate clauses, etc. Killgallon does these things in a straight-forward, easy-to-implement manner.
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