Barred from political engagement and legal advocacy, the second sophists composed and performed epideictic works for audiences across the Mediterranean world during the early centuries of the Common Era. In a wide-ranging study, author Susan C. Jarratt argues that these artfully wrought discourses, formerly considered vacuous entertainments, constitute intricate negotiations with the absolute power of the Roman Empire. Positioning culturally Greek but geographically diverse sophists as colonial subjects, Jarratt offers readings that highlight ancient debates over free speech and figured discourse, revealing the subtly coded commentary on Roman authority and governance embedded in these works. Through allusions to classical Greek literature, sophists such as Dio Chrysostom, Aelius Aristides, and Philostratus slipped oblique challenges to empire into otherwise innocuous works. Such figures protected their creators from the danger of direct confrontation but nonetheless would have been recognized by elite audiences, Roman and Greek alike, by virtue of their common education. Focusing on such moments, Jarratt presents close readings of city encomia, biography, and texts in hybrid genres from key second sophistic figures, setting each in its geographical context. Although all the authors considered are male, the analyses here bring to light reflections on gender, ethnicity, skin color, language differences, and sexuality, revealing an underrecognized diversity in the rhetorical activity of this period. While US scholars of ancient rhetoric have focused largely on the pedagogical, Jarratt brings a geopolitical lens to her study of the subject. Her inclusion of fourth-century texts-the Greek novel Ethiopian Story, by Heliodorus, and the political orations of Libanius of Antioch-extends the temporal boundary of the period. She concludes with speculations about the pressures brought to bear on sophistic political subjectivity by the rise of Christianity and with ruminations on a third sophistic in ancient and contemporary eras of empire.

Essays that show what a broad conception of rhetoric means and does in relation to practice Rhetoric is the art of emphasis, in the ancient sense of bringing to light or obscuring in shadow, and it is both a practice and a theory about that practice. In recent decades, scholars of rhetoric have turned to approaches that braid together poetics, performance, and philosophy into a "practical art." The Practice of Rhetoric: Poetics, Performance, Philosophy presents just such an account of rhetoric that presumes and incorporates theoretical approaches, offering a collection of principles assembled in the heat and trials of public practice. The essays gathered in this volume are inspired by the capacious conception of rhetoric put forth by historian of rhetoric Jeffrey Walker, who is perhaps best known for stressing rhetoric's educational mission and its investments in both theory and practice. The book extends that vision through the prisms of poetics, performance, and philosophy of argument. Poetics shows rhetoric's meaning making in all its verbal possibilities and material manifestations, in contexts ranging from mouse-infested medieval fields to the threat of toxin-ridden streams in the twentieth century. Performance puts what is created into the heat of public life, tapping out the rhythms of Byzantine prose or using collage to visually depict the beliefs and convictions of Martin Luther King Jr. Philosophy of argument enacts the mutually constitutive relationship between rhetoric and dialectic, offering new insights on and contexts for old tools like stasis and disputation, while keeping the focus on usefulness and teachability. Ranging across centuries and contexts, the essays collected here demonstrate the continued need to attend carefully to the cooperation of descriptive language and normative reality, conceptual vocabulary and material practice, public speech and moral self-shaping. This volume will rekindle long-standing conversations about the public, world-making practice of rhetoric, thereby enlivening anew its civic mission.

The fifteen essays and six responses in this volume of the MLA's Research and Scholarship in Composition series ""push the boundaries of knowledge in both feminism and composition,"" as the co-editor Susan C. Jarratt writes, ""by exploring the productive intersections and tensions of the two."" She goes on to say, ""Composition at its best works against the grain of conventional institutional practices.... Both feminist inquiry and post-current-traditional composition studies/styles challenge assumptions and seek to transform ways of thinking, teaching, and learning."" Both are complex, containing different agendas and different voices. Feminism and Composition Studies: In Other Words is a feminist project that boldly places at its centre differences among women. Topics discussed include American history, politics, language, racism, pedagogy, contingent labour in the teaching of writing, e-mail behaviour, and the need for educational and institutional reform. Teachers, graduate students, program administrators, and feminists will find valuable the critiques, theoretical as well as personal, contained in this unusually honest and thought-provoking volume.

The fifteen essays and six responses in this volume of the MLA's Research and Scholarship in Composition series ""push the boundaries of knowledge in both feminism and composition,"" as the co-editor Susan C. Jarratt writes, ""by exploring the productive intersections and tensions of the two."" She goes on to say, ""Composition at its best works against the grain of conventional institutional practices.... Both feminist inquiry and post-current-traditional composition studies/styles challenge assumptions and seek to transform ways of thinking, teaching, and learning."" Both are complex, containing different agendas and different voices. Feminism and Composition Studies: In Other Words is a feminist project that boldly places at its centre differences among women. Topics discussed include American history, politics, language, racism, pedagogy, contingent labour in the teaching of writing, e-mail behaviour, and the need for educational and institutional reform. Teachers, graduate students, program administrators, and feminists will find valuable the critiques, theoretical as well as personal, contained in this unusually honest and thought-provoking volume.

This book is a critically informed challenge to the traditional histories of rhetoric and to the current emphasis on Aristotle and Plato as the most significant classical voices in rhetoric. In it, Susan C. Jarratt argues that the first sophists--a diverse group of traveling intellectuals in the fifth century B.C.--should be given a more prominent place in the study of rhetoric and composition. Rereading the ancient sophists, she creates a new lens through which to see contemporary social issues, including the orality/literacy debate, feminist writing, deconstruction, and writing pedagogy.

The sophists' pleasure in the play of language, their focus on historical contin-gency, and the centrality of their teaching for democratic practice were sufficiently threatening to their successors Plato and Aristotle that both sought to bury the sophists under philosophical theories of language. The censure of Plato and Aris-totle set a pattern for historical views of the sophists for centuries. Following Hegel and Nietzsche, Jarratt breaks the pattern, finding in the sophists a more progressive charter for teachers and scholars of reading and writing, as well as for those in the adjacent disciplines of literary criticism and theory, education, speech communication, and ancient history.

In tracing the historical interpretations of sophistic rhetoric, Jarratt suggests that the sophists themselves provide the outlines of an alternative to history-writing as the discovery and recounting of a set of stable facts. She sees sophistic use of narrative in argument as a challenge to a simple division between orality and literacy, current discussions of which virtually ignore the sophists.Outlining similarities between "ecriture feminine "and sophistic style, Jarratt shows that contemporary feminisms have more in common with sophists than just a style; they share a rhetorical basis for deployment of theory in political action. In her final chapter, Jarratt takes issue with accounts of sophistic pedagogy focusing on technique and the development of the individual. She argues that, despite its employment by powerful demagogues, sophistic pedagogy offers a resource for today's teachers interested in encouraging minority voices of resistance through language study as the practice of democracy.