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Theory in the body: Language, bodies...

Harris Ramsby, Fiona Jane.

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Theory in the body: Language, bodies, and power on the rhetorical stage.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Theory in the body: Language, bodies, and power on the rhetorical stage./
Author:	Harris Ramsby, Fiona Jane.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
Description:	250 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
Contained By:	Dissertation Abstracts International77-06A(E).
Subject:	Rhetoric. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3746374
ISBN:	9781339397382

Theory in the body: Language, bodies, and power on the rhetorical stage.
Harris Ramsby, Fiona Jane.

Theory in the body: Language, bodies, and power on the rhetorical stage. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 250 p.

Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.

Thesis (Ph.D.)--The University of Utah, 2015.

My dissertation intervenes in the conversation about rhetoric and embodiment by performing the relationship between rhetoric and theater. I posit the theater as a site where rhetorical theory is performed in embodied practice. Specifically, taking Kenneth Burke's theories of identification across binaries, as well as his view that bodies constitute "generators of belief," as my starting point, my dissertation demonstrates how certain plays perform theories of performativity, especially theories advocated by Judith Butler. Thus, my project poses alternatives to dominant narratives about what constitutes rhetorical theory by forwarding the theater as a rhetorical space within which we can scrutinize how the body is central to rhetoric---both in the past and present---not just as a performing, agented body, but as one that is acted upon by language's ideological and regulatory norms. I argue that plays that unfold along important points in our rhetorical tradition--- Aristophanes' Clouds, Shakespeare's Troilus and Cressida, John Cameron Mitchell's Hedwig and the Angry Inch and Tony Kushner's Angels in America ---perform such theories.

ISBN: 9781339397382Subjects--Topical Terms:

516647
Rhetoric.

Theory in the body: Language, bodies, and power on the rhetorical stage.
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300 $a 250 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-06(E), Section: A.
500 $a Adviser: Thomas Huckin.
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520 $a My dissertation intervenes in the conversation about rhetoric and embodiment by performing the relationship between rhetoric and theater. I posit the theater as a site where rhetorical theory is performed in embodied practice. Specifically, taking Kenneth Burke's theories of identification across binaries, as well as his view that bodies constitute "generators of belief," as my starting point, my dissertation demonstrates how certain plays perform theories of performativity, especially theories advocated by Judith Butler. Thus, my project poses alternatives to dominant narratives about what constitutes rhetorical theory by forwarding the theater as a rhetorical space within which we can scrutinize how the body is central to rhetoric---both in the past and present---not just as a performing, agented body, but as one that is acted upon by language's ideological and regulatory norms. I argue that plays that unfold along important points in our rhetorical tradition--- Aristophanes' Clouds, Shakespeare's Troilus and Cressida, John Cameron Mitchell's Hedwig and the Angry Inch and Tony Kushner's Angels in America ---perform such theories.
520 $a My project is explicitly rhetorical as I uncover rhetoric's roots in the Greek drama. David Sansone suggests that our field has neglected the stage as rhetorical space. Sansone argues that Greek tragedy supplied orators with their strategies for argument and puts the drama at the center of alternative narratives about rhetoric's origins. Given rhetoric's bodily beginnings on the stage, I return to the theater in order to examine it as a living laboratory whereby language's rhetorical effects on and of the body---and the power relations embedded in those effects---can be witnessed and negotiated through live performance. I do so in response to Dwight Conquergood's call for alternative transferences of knowledge, which are embodied, performed, and interactive. Indeed, I write with the assumption that the transformative potential of theory is not as affective, as rhetorical, as it is when it is felt. Felt experience is what theater offers us.
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