No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity of texts to perform culturally holistic communicative functions (e.g., the memo, the strategic report, the letter to the editor). Concealed between grammar and genre, this less visible art of writing is what Kaufer and Butler call "representational composition." Texts within this hidden art are best viewed not primarily as grammatical units or as genre functions, but as bearers of design elements stimulating imagistic, narrative, and information-rich worlds, and as an invitation to readers to explore and interact with them.
This volume presents a systematic study of the principles that underlie writing as representational composition. Drawing from student models derived from a studio method, the authors use each chapter to present a different aspect of what unfolds--across the course of the book--into a cumulative, interactive, and unified body of representational principles underlying the design of texts. They reveal what makes the textual representations achieved by expert writers worthwhile, and, at the same time, difficult for novice writers to reproduce. Extending the framework of their 1996 volume, "Rhetoric and the Arts" of Design, into a realm of textual design, this volume will interest students and instructors of writing, rhetoric, and information design.

In 1888, Mark Twain reflected on the writer's special feel for words to his correspondent, George Bainton, noting that "the difference between the almost-right word and the right word is really a large matter." We recognize differences between a politician who is "willful" and one who is "willing" even though the difference does not cross word-stems or parts of speech. We recognize that being "held up" evokes different experiences depending upon whether its direct object is a meeting, a bank, or an example. Although we can notice hundreds of examples in the language where small differences in wording produce large reader effects, the authors of "The Power of Words" argue that these examples are random glimpses of a hidden systematic knowledge that governs how we, as writers or speakers, learn to shape experience for other human beings.
Over the past several years, David Kaufer and his colleagues have developed a software program for analyzing writing called DocuScope. This book illustrates the concepts and rhetorical theory behind the software analysis, examining patterns in writing and showing writers how their writing works in different categories to accomplish varying objectives. Reflecting the range and variety of audience experience that contiguous words of surface English can prime, the authors present a theory of language as an instrument of rhetorically priming audiences and a catalog of English strings to implement the theory. The project creates a comprehensive map of the speaker and writer's implicit knowledge about predisposing audience experience at the point of utterance.
The book begins with an explanation of why studying language from the standpoint of priming--not just meaning--is vital to non-question begging theories of close reading and to language education in general. The remaining chapters in Part I detail the steps taken to prepare a catalog study of English strings for their properties as priming instruments. Part II describes in detail the catalog of priming categories, including enough examples to help readers see how individual words and strings of English fit into the catalog. The final part describes how the authors have applied the catalog of English strings as priming tools to conduct textual research.

No two writing situations are exactly the same and skilled writers, like skilled painters, must develop the know-how to represent the objects of their writing as part of a flexible art. This special art of writing lies hidden between grammar--the well-formedness of sentences--and genre--the capacity of texts to perform culturally holistic communicative functions (e.g., the memo, the strategic report, the letter to the editor). Concealed between grammar and genre, this less visible art of writing is what Kaufer and Butler call "representational composition." Texts within this hidden art are best viewed not primarily as grammatical units or as genre functions, but as bearers of design elements stimulating imagistic, narrative, and information-rich worlds, and as an invitation to readers to explore and interact with them.
This volume presents a systematic study of the principles that underlie writing as representational composition. Drawing from student models derived from a studio method, the authors use each chapter to present a different aspect of what unfolds--across the course of the book--into a cumulative, interactive, and unified body of representational principles underlying the design of texts. They reveal what makes the textual representations achieved by expert writers worthwhile, and, at the same time, difficult for novice writers to reproduce. Extending the framework of their 1996 volume, "Rhetoric and the Arts" of Design, into a realm of textual design, this volume will interest students and instructors of writing, rhetoric, and information design.

The design arts -- from the design of buildings and machines to software and interfaces -- are associated with types of knowledge and performance thought to be structured, modular, and systematic. Such arts have become increasingly prestigious in our technocratic society. Since Aristotle, the art of rhetoric was conceived as a loosely structured "practical" art thought to be limited in the extent to which it could mimic more precise subject matters. The art of rhetoric has been controversial since classical times, but its status has sunk even lower since the industrial revolution -- a point when civic cultures began to cede authority and control to the cultures of specialized experts. Many sympathizers of rhetoric have resisted its decline by calling for a civic art of public discourse to stand in opposition to a technocratic specialized discourse that has come, increasingly, to disenfranchise the ordinary citizen.
This is the first book to question the rhetoric/technical knowledge split from a more fundamental perspective. To get some perspective on what is at stake in rhetoric's traditional classification as a "practical" art, the authors:
* explore the distinction between practical and design arts;
* enumerate the various criteria cited in the literature for qualifying a cluster of knowledge and performative skills to count as an art of design;
* show how the knowledge and performative skills associated with the art of rhetoric meet the major requirements of design knowledge;
* propose a general architecture of rhetorical design, one descriptive both of civic address and specialized academic argument;
* turn to the Lincoln/Douglas debates to embody and provide some empirical support and illustration for their architecture;
* demonstrate how Lincoln and Douglas can be thought of as expert designers whose rhetoric is highly structured and modular; and
* explain how the rhetoric of both rhetorical agents can be represented in the layers and modules that one needs to display plans for buildings, software, or other design artifacts.
These layers and modules are not just post hoc annotations of the debates; they also illuminate new and systematic ways for viewing the debates -- and by implication, other specimens of rhetoric -- in terms of strategies of artistic production. Kaufer and Butler conclude their presentation by citing some of the research and educational implications that follow from housing rhetoric within the family of design arts.

The design arts -- from the design of buildings and machines to software and interfaces -- are associated with types of knowledge and performance thought to be structured, modular, and systematic. Such arts have become increasingly prestigious in our technocratic society. Since Aristotle, the art of rhetoric was conceived as a loosely structured "practical" art thought to be limited in the extent to which it could mimic more precise subject matters. The art of rhetoric has been controversial since classical times, but its status has sunk even lower since the industrial revolution -- a point when civic cultures began to cede authority and control to the cultures of specialized experts. Many sympathizers of rhetoric have resisted its decline by calling for a civic art of public discourse to stand in opposition to a technocratic specialized discourse that has come, increasingly, to disenfranchise the ordinary citizen.
This is the first book to question the rhetoric/technical knowledge split from a more fundamental perspective. To get some perspective on what is at stake in rhetoric's traditional classification as a "practical" art, the authors:
* explore the distinction between practical and design arts;
* enumerate the various criteria cited in the literature for qualifying a cluster of knowledge and performative skills to count as an art of design;
* show how the knowledge and performative skills associated with the art of rhetoric meet the major requirements of design knowledge;
* propose a general architecture of rhetorical design, one descriptive both of civic address and specialized academic argument;
* turn to the Lincoln/Douglas debates to embody and provide some empirical support and illustration for their architecture;
* demonstrate how Lincoln and Douglas can be thought of as expert designers whose rhetoric is highly structured and modular; and
* explain how the rhetoric of both rhetorical agents can be represented in the layers and modules that one needs to display plans for buildings, software, or other design artifacts.
These layers and modules are not just post hoc annotations of the debates; they also illuminate new and systematic ways for viewing the debates -- and by implication, other specimens of rhetoric -- in terms of strategies of artistic production. Kaufer and Butler conclude their presentation by citing some of the research and educational implications that follow from housing rhetoric within the family of design arts.

In 1888, Mark Twain reflected on the writer's special feel for words to his correspondent, George Bainton, noting that "the difference between the almost-right word and the right word is really a large matter." We recognize differences between a politician who is "willful" and one who is "willing" even though the difference does not cross word-stems or parts of speech. We recognize that being "held up" evokes different experiences depending upon whether its direct object is a meeting, a bank, or an example. Although we can notice hundreds of examples in the language where small differences in wording produce large reader effects, the authors of The Power of Words argue that these examples are random glimpses of a hidden systematic knowledge that governs how we, as writers or speakers, learn to shape experience for other human beings. Over the past several years, David Kaufer and his colleagues have developed a software program for analyzing writing called DocuScope. This book illustrates the concepts and rhetorical theory behind the software analysis, examining patterns in writing and showing writers how their writing works in different categories to accomplish varying objectives. Reflecting the range and variety of audience experience that contiguous words of surface English can prime, the authors present a theory of language as an instrument of rhetorically priming audiences and a catalog of English strings to implement the theory. The project creates a comprehensive map of the speaker and writer's implicit knowledge about predisposing audience experience at the point of utterance. The book begins with an explanation of why studying language from the standpoint of priming--not just meaning--is vital to non-question begging theories of close reading and to language education in general. The remaining chapters in Part I detail the steps taken to prepare a catalog study of English strings for their properties as priming instruments. Part II describes in detail the catalog of priming categories, including enough examples to help readers see how individual words and strings of English fit into the catalog. The final part describes how the authors have applied the catalog of English strings as priming tools to conduct textual research.