The Effects of Rhetoric and the Rhetoric of Effects tackles one of the thorniest and longest-standing issues in the discipline of rhetoric - the issue of effects. While the field's founders valued the assessment of a speech's effects, later scholars moved away from it, privileging textual analysis, symbols, and meaning. Though situated and strategic oral rhetoric is created for instrumental ends, its study has been limited in recent decades. Editors Amos Kiewe and Davis W. Houck seek to resurrect the study of effects and consider it as the cornerstone of the rhetorical critic's enterprise - what rhetoric actually does. In 1925, when Herbert Wichelns essentially created the field of rhetorical criticism, he founded it on the cornerstone of effect: what did oral rhetoric do to an observable audience? Wichelns's founding statement held sway for decades, even as rhetorical critics struggled doggedly to determine "causes" to rhetoric's effects. As the speech discipline matured and cast off the ghost of Aristotelian criticism and its seeming obsession with effect, critics eventually adopted the study of symbol systems as a guiding thematic. That thematic, while enormously productive, never resolved larger questions of what these symbol systems might be doing - beyond their incipient meaning. In this volume scholars across several subfields of rhetorical criticism return to the study of effect in a world impossibly different from pre-World War II era scholarship. With the rhetorical revolution and the linguistic turn across the humanities and social sciences, effects can and should be reconceptualized to engage the myriad ways that rhetoric matters to audiences - whether in the form of listening to a speech or reading an online script for a documentary. Rhetoricians have always known that rhetoric matters; this volume asks how and how we might demonstrate that.

In the newly revised version of The Sourcebook of Magic you will discover afresh the basic 77 NLP patterns for transformational magic. What's new? A change from merely describing the patterns to presenting the key questions that allow you to guide a client. The newly revised version streamlines the patterns so that they are even more succinct and offers some new insights about how the patterns work, that is, the cognitive-behavioural mechanisms that make the neuro-linguistic and neuro-semantic approach so powerful. The Sourcebook of Magic arose in 1997 from a desire to collect in one place the basic or core NLP Patterns. Today it remains an excellent resource for coaches, therapists, psychologists, trainers, and managers. The book uniquely sorts and separates the patterns in key categories, those that deal with Self, Emotions, Languaging, Thinking Patterns, Meaning, and Strategies. This Sourcebook of Magic also provides guidelines for knowing what to do when and why. An excellent gift for those interested in the cognitive-behavioural model called NLP.

This book analyses war monuments by developing a multimodal social-semiotic approach to understand how they communicate as three-dimensional objects. The book provides a practical tool-kit approach to how critical multimodal social semiotics should be done through visual, textual and material analysis. It ties this material analysis into the social and political contexts of production. Using examples across the 20th and 21st century the book's chapters offer a way of analysing the way that monument designers have used specific semiotic choices in terms of things like iconography, objects, shape, form, angularity, height, materials and surface realisation to place representations of war in public places across Britain. This social-semiotic approach to the study of war monuments serves three innovative purposes. First, it provides a contribution to the work on the ideological representations of war in Media and Cultural Studies and in Critical Discourse Analysis applied specifically to more banal realisations of discourse. Second, it responds to calls by historians for innovative ways to study war commemoration by providing an approach that offers both specific analysis of the objects and attends to matters of design. Thirdly, following in the relatively recent tradition of multimodal analysis, the arguments draw on the ideas of Kress and van Leeuwen (1996, 2001), adapting and extending their theories and models to the analysis of British commemorative war monuments, in order to develop a multimodal framework for the analysis of three dimensional objects.

Cassirer thought of culture anthropologically as the entire complex of human modes of meaning and existence: it encompassed science, technology, language, and social life in addition to art, religion, and philosophy. This conception of culture and Cassirer's theory of symbolism anticipated much of later cultural theory. In this collection of essays, eminent Cassirer scholars examine the many different aspects of his thinking on this subject and demonstrate how pioneering and important it is to cultural studies.

Luxury has been both celebrated and condemned throughout history right up to the present day. This groundbreaking text examines luxury and its relationship with desire, status, consumption and economic value, exploring why luxury remains prominent even in the context of a global recession. Using approaches from cultural studies, semiotic research and aesthetics, Luxury presents a wide range of case studies including urban space and new technologies, travel, interior design, cars, fashion ads and jewellery to explore what luxury represents, and why, in the contemporary world. The book will be essential reading for students and scholars across a range of fashion studies, cultural studies and sociology, and anyone interested in the power and allure of luxury today.

This volume presents an overview of new developments and applications of social semiotic theory. Pioneered by M.A.K. Halliday, social semiotic theory sees meaning as created through the interaction of texts (including writing, images, sound and space) within a given context. Divided into five sections, the contributors use social semiotic theory to analyse a range of contexts, including the classroom, the museum and cinema. The case studies show the range and scope of this method of analysis, and include: the school curriculum; literacy; print media; online resources; film; and advertising. Multimodal Semiotics will be of interest to academics researching social semiotic theory, systemic functional linguistics and applied linguistics.

In an age where the use of electronic media is expanding and the nature of traditional texts and text-based learning is changing, new literacies are becoming increasingly important in the school classroom. This volume examines how new literacies can be used in the English curriculum, and presents a series of research-based studies applied to every level of school-age education. The chapters examine: early literacy; picture books; the internet; secondary school English; and the problems of assessment in the new literacy age.
This forward-thinking volume will be of interest to teachers and academics researching education, literacy, applied linguistics, and social semiotic theory.

Semiotics is long on theoretical, often obscure discourses, but short on applications that demonstrate with clarity the applicability of its methods. This book confronts a challenging object, the circus, and endeavors to describe its performances in ways that explain how circus acts produce meaning and cause a deep emotional involvement for their audiences. The approach is not top-down, such as would be a method that would dogmatically apply a particular theory to fully explain the phenomena in terms of this theory alone. Epistemologically, this book is an example of the bottom-up strategy, which consists of considering first the objects and heuristically calling upon methodological resources in a broad theoretical array to come to grips with the problems that are encountered. Any circus act is a complex event that has cognitive and emotional dimensions. It is also a part of a history and an institution, and cannot be abstracted from its cultural and sociological contexts. Thus the range of relevant theoretical and methodological approaches must include structural semiotics, biosemiotics, pragmatics, socio-semiotics, cultural anthropology, the cognitive sciences, the psychology and sociology of emotions, to name only the most important. But the ultimate focus of this book is to enable the readers to better understand the meaning of circus performances and to appreciate the skills and creativity of this traditional popular art, which constantly renews itself from generation to generation.

This book explores the strikingly similar ways in which information is encoded in nonverbal man-made signals (e.g., traffic lights and tornado sirens) and animal-evolved signals (e.g., color patterns and vocalizations). The book also considers some coding principles for reducing certain unwanted redundancies and explains how desirable redundancies enhance communication reliability.

Jack Hailman believes this work pioneers several aspects of analyzing human and animal communication. The book is the first to survey man-made signals as a class. It is also the first to compare such human-devised systems with signaling in animals by showing the highly similar ways in which the two encode information. A third innovation is generalizing principles of quantitative information theory to apply to a broad range of signaling systems. Finally, another first is distinguishing among types of redundancy and their separation into unwanted and desirable categories.

This remarkably novel book will be of interest to a wide readership. Appealing not only to specialists in semiotics, animal behavior, psychology, and allied fields but also to general readers, it serves as an introduction to animal signaling and to an important class of human communication.

Principled Headship equips you with the essential skills needed for a future in school leadership. Pioneering a programme of techniques and exercises using Neuro-Linguistic Programming (NLP) and a combination of left and right brained approaches, it includes indirect suggestions, visual image associations and extensive work on personal beliefs. Written in a light and personal style, it will improve your ability to lead, communicate and motivate. The book covers a range of personal skills that are currently given insufficient prominence in teacher training. It provides you with practical ways of improving your awareness and your emotional, behavioural, linguistic and self-management skills. It also presents a fresh and practical approach to clarifying and consolidating a core of personal beliefs and values. If you are contemplating launching yourself into a teaching career, and especially if headship is your aim, Principled Headship is the book that will help you achieve your goals.

"Human Communication Theory and Research" introduces students to the growing body of theory and research in communication, demonstrating the integration between the communication efforts of interpersonal, organizational, and mediated settings. This second edition builds from the foundation of the original volume to demonstrate the rich array of theories, theoretical connections, and research findings that drive the communication discipline. Robert L. Heath and Jennings Bryant have added a chapter on new communication technologies and have increased depth throughout the volume, particularly in the areas of social meaning, critical theory and cultural studies, and organizational communication.
The chapters herein are arranged to provide insight into the breadth of studies unique to communication, acknowledging along the way the contributions of researchers from psychology, political science, and sociology. Heath and Bryant chart developments and linkages within and between ways of looking at communication. The volume establishes an orientation for the social scientific study of communication, discussing principles of research, and outlining the requirements for the development and evaluation of theories.
Appropriate for use in communication theory courses at the advanced undergraduate and graduate level, this text offers students insights to understanding the issues and possible answers to the question of what communication is in all forms and contexts.

Gaius Julius Caesar Octavianus, better known as Augustus, was the first Roman emperor and is one of the most iconic figures in world history. Two thousand years after his death, Augustus remains a strong presence in modern culture. The Semiotics of Caesar Augustus examines the meanings and significances of Augustus in Western literary and popular culture, from the 1960s until the turn of the millennium. Drawing on the theoretical background of semiotics and classical reception studies, Elina Pyy investigates the representation of Augustus in the postmodern novels of Kurt Vonnegut and Christoph Ransmayr, as well as in the genre of historical fiction, and in screen representations from both sides of the Atlantic. Scrutinizing what Caesar Augustus stood for in the postmodern world, and the main factors that influenced (and still influence) the modern reader's interpretation of him, this book is grounded on the premise that the past, being a system of signs based on our culturally shared understanding of them, is continuously created and reconstructed by the modern audience. Arguing that the 'many faces of the emperor' can be considered to be reactions to contemporary cultural, socio-political or emotional needs, The Semiotics of Caesar Augustus shows how his character was recurrently utilized to explain and understand the ways in which the discourses of power, liberty, oppression and humanity operated in the postmodern world.

At his death in 1945, the influential German philosopher Ernst Cassirer left manuscripts for the fourth and final volume of his magnum opus, The Philosophy of Symbolic Forms. John Michael Krois and Donald Phillip Verene have edited these writings and translated them into English for the first time, bringing to completion Cassirer's major treatment of the concept of symbolic form. Ernst Cassirer believed that all the forms of representation that human beings use-language, myth, art, religion, history, science-are symbolic, and the concept of symbolic forms was the basis of his thinking on these subjects. In this volume, which contains one text written in 1928 and another in about 1940, Cassirer presents the metaphysics that is implicit in his epistemology and phenomenology of culture. The earlier text grounds the philosopher's conception of symbolic forms on a notion of human nature that makes a general distinction between Geist (mind) and life. In the later text, he discusses Basis Phenomena, an original concept not mentioned in any of his previous works, and he compares his own viewpoint with those of other modern philosophers, notably Bergson and Heidegger.

If not by nature, then by habit, people tend to match one thing with another--man and woman, laughter and tears, sickness and health, fire and water, master and servant--thereby accentuating similarities and contrasts and opening a field of relations. In "The Mirror of Ideas," Michel Tournier examines these pairs and a host of others to demonstrate how pairing one object or idea with another generates the work of imagination, philosophy, and creative thinking of all kinds.
Tournier treats pairs both lowly and exalted--moving from fork and spoon, horse and bull, cat and dog, to fear and anguish, poetry and prose, body and soul, being and nothingness. Hardly an exhaustive inventory of traditional pairs, his selection nonetheless opens the door to patterns deeply embedded in culture and civilization, speech and writing, memory and habit. Possessed of both brilliant surfaces and surprising depths, Tournier's myriad reflections on the mirror of language reveal why his works have generated international attention and acclaim.

"A comprehensive study on Barthes and photography . . . the most studious research on the topic."--Antoine Compagnon, Columbia University and the Sorbonne "Interesting and significant. . . . Important for scholars, students, and general readers interested in literature, art, photography, critical theory, and media studies."--Scott Nygren, University of Florida French theoretician Roland Barthes enjoyed a long and shifting relationship with photography, using it first as metaphor, moving on to explore its use in movies, film stills, political campaigns, and popular photographic essays, and finally confronting it anew with the death of his mother. Although Barthes' last book, and his only book-length study of photography, Camera Lucida, has enormously influenced study of visual images in the arts and humanities, this is the first examination in English of Barthes's work on the visual arts. Nancy Shawcross brings together and analyzes for the first time--in any language--all of Barthes's writings, both direct and indirect, about visual media in its many forms. Shawcross reads Camera Lucida against the whole of Barthes' work, an intertextual approach that reanimates his earlier writings in a way that a strictly chronological discussion would not. By focusing on the border between literature and photography, Shawcross combines theoretical and philosophical questions with the history and cultural contexts of photography. This meticulously researched book places Barthes's thought on photography in the context of his own developing ideas about semiology, tracking origins, rejections, and departures. It shows Barthes's affinities with and distinction from other theorists of photography such as Baudelaire and Benjamin and, finally, examines his thought in the context of postmodern discussions of photography that followed it. Nancy Shawcross teaches comparative literature at the University of Pennsylvania and serves as curator of manuscripts in the Department of Special Collections there. She co-organized a 1994 international conference on Barthes at the university and has published articles and book chapters in the field of literary criticism.

A companion volume to Art and Illusion, The Image & the Eye provides a comprehensive and intriguing overview of art and our perception of its different dimensions. In a series of landmark papers and lectures, Professor Gombrich presents his thoughts and arguments on subjects as diverse as the tricks of photography with perspective, the problems of expressing emotion through art and how pictorial representation can alter the way in which we see the world. Like any work from Gombrich's vast oeuvre, these masterly pieces display a lively curiosity and an infectious enthusiasm for understanding the challenges presented by art.

A comparative history of the practices, technologies, institutions, and people that created distinct literary traditions around the world, from ancient to modern times Literature is such a familiar and widespread form of imaginative expression today that its existence can seem inevitable. But in fact very few languages ever developed the full-fledged literary cultures we take for granted. Challenging basic assumptions about literatures by uncovering both the distinct and common factors that led to their improbable invention, How Literatures Begin is a global, comparative history of literary origins that spans the ancient and modern world and stretches from Asia and Europe to Africa and the Americas. The book brings together a group of leading literary historians to examine the practices, technologies, institutions, and individuals that created seventeen literary traditions: Chinese, Japanese, Korean, Indian, Greek, Latin, Hebrew, Syriac, Arabic, English, Romance languages, German, Russian, Latin American, African, African American, and world literature. In these accessible accounts, which are framed by general and section introductions and a conclusion by the editors, literatures emerge as complex weaves of phenomena, unique and deeply rooted in particular times and places but also displaying surprising similarities. Again and again, new literatures arise out of old, come into being through interactions across national and linguistic borders, take inspiration from translation and cultural cross-fertilization, and provide new ways for groups to imagine themselves in relation to their moment in history. Renewing our sense of wonder for the unlikely and strange thing we call literature, How Literatures Begin offers fresh opportunities for comparison between the individual traditions that make up the rich mosaic of the world's literatures. The book is organized in four sections, with seventeen literatures covered by individual contributors: Part I: East and South Asia: Chinese (Martin Kern), Japanese (Wiebke Denecke), Korean (Ksenia Chizhova), and Indian (Sheldon Pollock); Part II: The Mediterranean: Greek (Deborah Steiner), Latin (Joseph Farrell), Hebrew (Jacqueline Vayntrub), Syriac (Alberto Rigolio), and Arabic (Gregor Schoeler); Part III: European Vernaculars: English (Ingrid Nelson), Romance languages (Simon Gaunt), German (Joel Lande), and Russian (Michael Wachtel); Part IV: Modern Geographies: Latin American (Rolena Adorno), African (Simon Gikandi), African American (Douglas Jones), and world literature (Jane O. Newman).

The Symbolic Forms has long been considered the greatest of Cassirer's works. Into it he poured all the resources of his vast learning about language and myth, religion, art, and science-the various creative symbolizing activities and constructions through which man has expressed himself and given intelligible objective form to this experience. "These three volumes alone (apart from Cassirer's other papers and books) make an outstanding contribution to epistemology and to the human power of abstraction. It is rather as if 'The Golden Bough' had been written in philosophical rather than in historical terms."-F.I.G. Rawlins, Nature

Social Semiotics is a major new textbook in communication and cultural studies. It offers a comprehensive and original approach to the study of the ways in which meaning is constituted in social life. Hodge and Kress begin from the assumption that signs and messages -- the subject matter of semiotics -- must always be situated within the context of social relations and processes. They then show what is involved in analysing different kinds of messages, from literary texts, TV programmes and billboards to social interactions in the family and the school. While presenting a judicious assessment of different perspectives, Hodge and Kress also develop their own distinctive and highly fruitful approach, demonstrating how semiotics can be integrated with the social analysis of power and ideology, space and time, and gender and class. Social Semiotics is richly illustrated with examples and written in a clear style which does not presuppose prior knowledge of the field. It will become a key textbook for courses in communications, media and cultural studies and will be of general interest to students of sociology, literature and linguistics.

Drawings and sequential images are an integral part of human expression dating back at least as far as cave paintings, and in contemporary society appear most prominently in comics. Despite this fundamental part of human identity, little work has explored the comprehension and cognitive underpinnings of visual narratives-until now. This work presents a provocative theory: that drawings and sequential images are structured the same as language. Building on contemporary theories from linguistics and cognitive psychology, it argues that comics are written in a visual language of sequential images that combines with text. Like spoken and signed languages, visual narratives use a lexicon of systematic patterns stored in memory, strategies for combining these patterns into meaningful units, and a hierarchic grammar governing the combination of sequential images into coherent expressions. Filled with examples and illustrations, this book details each of these levels of structure, explains how cross-cultural differences arise in diverse visual languages of the world, and describes what the newest neuroscience research reveals about the brain's comprehension of visual narratives. From this emerges the foundation for a new line of research within the linguistic and cognitive sciences, raising intriguing questions about the connections between language and the diversity of humans' expressive behaviours in the mind and brain.

During the last 300 years circus clowns have emerged as powerful cultural icons. This is the first semiotic analysis of the range of make-up and costumes through which the clowns' performing identities have been established and go on developing. It also examines what Bouissac terms 'micronarratives' - narrative meanings that clowns generate through their acts, dialogues and gestures. Putting a repertory of clown performances under the semiotic microscope leads to the conclusion that the performances are all interconnected and come from what might be termed a 'mythical matrix'. These micronarratives replicate in context-sensitive forms a master narrative whose general theme refers to the emergence of cultures and constraints that they place upon instinctual behaviour. From this vantage point, each performance can be considered as a ritual which re-enacts the primitive violence inherent in all cultures and the temporary resolutions which must be negotiated as the outcome. Why do these acts of transgression and re-integration then trigger laughter and wonder? What kind of mirror does this put up to society? In a masterful semiotic analysis, Bouissac delves into decades of research to answer these questions.

We communicate multimodally. Everyday communication involves not only words, but gestures, images, videos, sounds and of course, music. Music has traditionally been viewed as a separate object that we can isolate, discuss, perform and listen to. However, much of music's power lies in its use as multimodal communication. It is not just lyrics which lend songs their meaning, but images and musical sounds as well. The music industry, governments and artists have always relied on posters, films and album covers to enhance music's semiotic meaning. Music as Multimodal Discourse: Semiotics, Power and Protest considers musical sound as multimodal communication, examining the interacting meaning potential of sonic aspects such as rhythm, instrumentation, pitch, tonality, melody and their interrelationships with text, image and other modes, drawing upon, and extending the conceptual territory of social semiotics. In so doing, this book brings together research from scholars to explore questions around how we communicate through musical discourse, and in the discourses of music. Methods in this collection are drawn from Critical Discourse Analysis, Social Semiotics and Music Studies to expose both the function and semiotic potential of the various modes used in songs and other musical texts. These analyses reveal how each mode works in various contexts from around the world often articulating counter-hegemonic and subversive discourses of identity and belonging.

The square of opposition is a simple geometrical figure expressing some fundamental ideas about cognition. It is based on Aristotle's philosophy and has been fascinating people for two thousand years. The three notions of opposition presented in the square can be applied to analyze and understand such diverse subjects as reasoning about mathematical objects, perceptions of reality, speech acts, moral reasoning and reasoning about possibility. This book presents recent research papers dealing with the history and philosophy of the square, new diagrammatic and mathematical developments arising from it, and its applications to the fields of linguistics, psychology and argumentation. It also includes a DVD composed of events from the first world congress on the square of opposition held in June 2007 in Montreux, featuring some of the speeches and presentations of the participants, like the professors Pascal Engel, Laurence Horn, Terence Parsons, Jan Wolenski. Further, the DVD contains extracts of a square jazz show which was composed and presented for this occasion and extracts of the movie "The Square of Salome". The movie, which was produced for this event, is a remake of the famous biblical story using the square to display the relations between the main characters.