Intellectuals today cringe when a politician speaks of the Second Coming, the millennium, or the Antichrist. Certain questions naturally arise about those who literally expect the end of the world in our day: Why do they think this? Why do some people believe them? How do their exhortations work to persuade an audience and to move that audience to actions and commitments? These are the motivating questions of Contemporary Apocalyptic Rhetoric, which describes "apocalyptic" as a rhetorical genre of discourse. Barry Brummett first recasts insights drawn from past scholarly and theological studies to demonstrate their relevance to contemporary apocalyptic, then examines a variety of "real" apocalyptic to illustrate the ways in which these rhetorical discourses actually work. The discussion focuses on those strategies, arguments, and stylistic features that are peculiar to apocalyptic and that support its social and political claims. Following an introductory first chapter, Chapter Two describes how apocalyptic rhetoric links a psychological context to an esoteric "grand order" underlying all of time and the cosmos. Chapter Three compares premillennial and postmillennial apocalyptic on three dimensions to show the different approaches they take to reach their audiences. Chapter Four describes specific rhetorical techniques designed to maintain a mystic persona and urge social and political commitments on audiences. The final two chapters apply the author's theories to secular and religious apocalyptic, both premillennial (Hal Lindsey and Ravi Batra) and postmillennial (Francis Fukuyama). Contemporary Apocalyptic Rhetoric will appeal to readers across many disciplines, includingcommunications, religion, sociology, and psychology.

Brummett explores the ways people use three key terms-reality, representation, and simulation-as rhetorical devices with political and social effect. Human perception, language, and aesthetics experiences are the bases for the fluidity among these terms. Each term's rhetoric is illustrated in an analysis of texts in popular culture: William Gibson's novels, the usenet group rec.motorcycles, and the film Groundhog Day. Brummett explores the ways people use three key terms-reality, representation, and simulation-as rhetorical devices with political and social effect. People write and speak as if there were such things as reality, representation, and simulation. People treat the terms as if they were clearly referential and as if those referents were clearly distinct. But what kind of political, social work do people do when they write and speak in those terms? What kind of claim is being made, or accusation leveled when such a term is used? How do the dimensions and parameters of meaning facilitated by each term work in the management and distribution of power? These are questions of rhetoric, the manipulation of signs and symbols for influence and effect. Brummett illustates the rhetoric of reality in a critical analysis of William Gibson's science fiction novels. The rhetoric of representation is shown in discusions on the usenet group rec.motorcyles. The rhetoric of simulation is explained through the film Groundhog Day. Of particular interest to scholars, students, and researchers involved with rhetoric and popular culture, media, communication, and technology, and the literature of science and science fiction.

This unique book explores how the aesthetic and cultural movement "Steampunk" persuades audiences and wins new acolytes. Steampunk is an aesthetic style grounded in the Victorian era, in clothing and accoutrements modeled on a heightened and hyper-extended age of steam. In addition to its modeling of attire and other symbolic trappings, what is most distinctive is its adherents' use of a machined aesthetic based on steam engines and early electrical machinery: gears, pistons, shafts, wheels, induction motors, clockwork and so forth.

The aesthetic was first articulated in literature in the works of Jules Verne and H. G. Wells. The American West later contributed images to the aesthetic--revolvers, locomotives, and rifles of the late nineteenth century. Among young people steampunk has found common aesthetic cause with Goth style. Examples from literature and popular culture include William Gibson's fiction, China Mieville's novels, the classic film "Metropoli"s, and the BBC series "Doctor Who." This volume recognizes that steampunk, a unique popular culture phenomenon, presents a prime opportunity for rhetorical criticism.

Steampunk's art, style, and narratives convey complex social and political meanings. Chapters in "Clockwork Rhetoric" explore topics ranging from jewelry to Japanese anime to contemporary imperialism to fashion. Throughout, the book demonstrates how language influences consumers of steampunk to hold certain social and political attitudes and commitments."

Brummett addresses the question of how the aesthetic experience of machines can have rhetorical influence. He develops a theory of machine aesthetics, showing nine dimensions of the aesthetic experience of machines and machine-like objects or activities. He identifies three general types of machine aesthetics: Mechtech, classical machine aesthetics based on hardware, gears, pistons, and so forth; Electrotech, high technology machine aesthetics based on the ability of electricity to put machinery on the human scale; and Chaotech, the aesthetic appeal of the decayed machine. In each case, rhetorical applications of the aesthetic are explored. A final critical application shows how the film "Brazil" warns its audience that fascism can be supported by simulations based on machine aesthetics.

Brummett's book develops and articulates ideas in the fields of rhetoric and literature that have not been brought together before. In a radical departure, Brummett sees machines not as passive backdrops to human intercourse, but rather as possessing a powerful rhetoric of their own. The book will be of great interest to scholars and students of communications, art, and aesthetics.

This volume of essays examines the ways in which sports have become a means for the communication of social identity in the United States. The essays included here explore the question, How is identity engaged in the performance and spectatorship of sports? Defining sports as the whole range of mediated professional sports, and considering actual participation in sports, the chapters herein address a varied range of ways in which sports as a cultural entity becomes a site for the creation and management of symbolic components of identity. Originating in the New Agendas in Communication symposium sponsored by the University of Texas College of Communication, this volume provides contemporary explorations of sports and identity, highlighting the perspectives of up-and-coming scholars and researchers. It has much to offer readers in communication, sociology of sport, human kinetics, and related areas.

This volume of essays examines the ways in which sports have become a means for the communication of social identity in the United States. The essays included here explore the question, How is identity engaged in the performance and spectatorship of sports? Defining sports as the whole range of mediated professional sports, and considering actual participation in sports, the chapters herein address a varied range of ways in which sports as a cultural entity becomes a site for the creation and management of symbolic components of identity. Originating in the New Agendas in Communication symposium sponsored by the University of Texas College of Communication, this volume provides contemporary explorations of sports and identity, highlighting the perspectives of up-and-coming scholars and researchers. It has much to offer readers in communication, sociology of sport, human kinetics, and related areas.

In the inaugural series of "Landmark Essay" books, this is the only volume which focuses on the work of one scholar. Kenneth Burke -- poet, scholar, critic, iconoclast, eccentric, and Yankee crank -- is the major figure in American humanities in the twentieth century. He does not fit tidily into any philosophical school, nor is he reducible to any simple set of principles and ideas. Scholars from many fields -- communication, English, history, sociology, and more -- have studied Burke's theories and critical methods which have spawned reams of commentary, extension, debate, and application. More than a single intellectual worker, he is the ore for a scholarly industry. This book contains a few outstanding examples of the products of that industry. Readers will find models of what it means to be Burkean, to study Burke, and to use Burke in developing an understanding of the human condition.
The essays in this volume show that one can borrow ideas from Burke, or one can become wholly immersed inhim. However, his work cannot be reduced to or equated with any other figure, method, or school of thought. The reader may find some striking similarities among the papers in this book. Written by scholars from several disciplines, they nevertheless address many of the same themes during the course of their exposition. What is also striking is the fact that most of the essays enter that Burkean system of themes from different starting points. Thus, they are models of what Burke claims for any critical vocabulary -- including his own -- that they are cycles of terms, any one of which leads into another.

Barry Brummett is a resident of Austin, TX and teaches at the University of Texas at Austin. This is his first book of poetry. His poems are grouped into general themes of nature, life, and death. The title is taken from a book chapter by the poet, novelist, and theorist Kenneth Burke. Literature, including poems, are "equipment for living," we turn to literature of all sorts to get us through life. Elsewhere Burke says that poems help "get things placed." That is my goal in writing poetry.

This unique book explores how the aesthetic and cultural movement ""Steampunk"" persuades audiences and wins new acolytes. Steampunk is an aesthetic style grounded in the Victorian era, in clothing and accoutrements modeled on a heightened and hyper-extended age of steam. In addition to its modeling of attire and other symbolic trappings, what is most distinctive is its adherents' use of a machined aesthetic based on steam engines and early electrical machinery - gears, pistons, shafts, wheels, induction motors, clockwork and so forth. Precursors to steampunk can be found in the works of Jules Verne and H. G. Wells. The imagery of the American West contributed to the aesthetic - revolvers, locomotives, and rifles of the late nineteenth century. Among young people, steampunk has found common aesthetic cause with Goth style. Examples from literature and popular culture include William Gibson's fiction, China Mieville's novels, the classic film Metropolis, and the BBC series Doctor Who. This volume recognizes that steampunk, a unique popular culture phenomenon, presents a prime opportunity for rhetorical criticism. Steampunk's art, style, and narratives convey complex social and political meanings. Chapters in Clockwork Rhetoric explore topics ranging from jewelry to Japanese anime to contemporary imperialism to fashion. Throughout, the book demonstrates how language influences consumers of steampunk to hold certain social and political attitudes and commitments.