Breaking Up [at] Totality: A Rhetoric of Laughter by D. Diane Davis

By D. Diane Davis

Rhetoric and composition concept has proven a renewed curiosity in sophistic countertraditions, as visible within the paintings of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Hélène Cixous, and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis strains today’s theoretical curiosity to these countertraditions, she additionally units her attractions past them.

Davis takes a “third sophistics” method, one who makes a speciality of the play of language that endlessly disrupts the “either/or” binary building of dialectic. She concentrates at the nonsequential third—excess—that overflows language’s dichotomies. during this paintings, laughter operates as a trope for disruption or breaking apart, that's, from Davis’s point of view, a joyfully harmful shattering of our confining conceptual frameworks.

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Breaking Up [at] Totality: A Rhetoric of Laughter

Rhetoric and composition concept has proven a renewed curiosity in sophistic countertraditions, as visible within the paintings of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Hélène Cixous, and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis lines today’s theoretical curiosity to these countertraditions, she additionally units her points of interest past them.

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In practice, many of the approaches to world literature studies have focused on a specific genre, primarily the novel, and tried to demonstrate its development empirically (see Moretti 2005). With its focus on genre and binary comparisons, comparative literature, however, does not account for literary networks of production and consumption (see Flint 2011); for authorial economies, see Jackson (2008), and for “literary capitalism,” see Cohen (2012). I N T R O D U C T I O N 17 16. As a critical concept, worlding implies the world as the horizon for analyzing literary production and circulation, foregrounding the material conditions and the cultures of circulation in which constant movements of textual commodities take place, making the nation only “one point on the spatial scale .

Many of the currently available anthologies evaluate eighteenth- and nineteenthcentury short narratives from an essentialist point of view that relates the later short story to notions of origin, fictionality, and literary quality. Literary histories and anthologies frequently begin their chronology with one of Irving’s tales as the first short story; see Boddy (2011). 5. Poe’s (1846) definition of the short “prose composition” (164) as a text that can be perused “in one sitting” (163) and uses a tight structure, multiple levels of meanings, and effective language to achieve a “unity of impression” (163) upon the reader has become a critical commonplace and can be found even in the most recent surveys of the genre (cf.

Wednesday, 29, In the Morning the ship were blown so th[at] the Boy of the Anchor were under the Rudder of the S[hip]; the winde was still contrary and Taylor, Edward. 1964. ” In The Diary of Edward Taylor, edited and with a short introduction by Francis Murphy, 25–36. Springfield, MA: Connecticut Valley Historical Museum. Copyright 1964 by Springfield Library and Museums Association. Reprinted by permission of the Springfield Museums Association, formerly the Springfield Library and Museums Association.

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