| |
| |
| Preface for Instructors | |
| |
| |
| Preface for Students | |
| |
| |
| Acknowledgments | |
| |
| |
| |
| Dramatism and Rhetoric | |
| |
| |
| Representative Words | |
| |
| |
| All the Words, a Stage | |
| |
| |
| Dramatism, Rhetoric, and the Pentad | |
| |
| |
| On Interpretation | |
| |
| |
| Kenneth Burke, "All Living Things Are Critics" | |
| |
| |
| Tracking Down Implications | |
| |
| |
| Identification and Consubstantiality | |
| |
| |
| Identification and Transformation | |
| |
| |
| Logomachy: Wars of Words and Nerves | |
| |
| |
| Cooperation and Competition | |
| |
| |
| "Road to Victory": The Basis for Dramatism | |
| |
| |
| The Resources of Ambiguity | |
| |
| |
| Kenneth Burke, "Introduction: The Five Key Terms of Dramatism" | |
| |
| |
| Tracking Down Implications | |
| |
| |
| The Pentad | |
| |
| |
| The Pentadic Ratios: Scene-Act | |
| |
| |
| The Scene-Act Ratio: School Violence | |
| |
| |
| Summary | |
| |
| |
| Research and Writing Activities | |
| |
| |
| Preview of the Following Chapters | |
| |
| |
| |
| The Dramatistic Analysis of Form | |
| |
| |
| The Writer's Situation | |
| |
| |
| Burke's Parlor | |
| |
| |
| Tracking Down Implications | |
| |
| |
| Piety and Form | |
| |
| |
| Types of Form | |
| |
| |
| Syllogistic Progression | |
| |
| |
| Qualitative Progression | |
| |
| |
| Repetitive Form | |
| |
| |
| Conventional Form | |
| |
| |
| Dramatism on the World's Stage | |
| |
| |
| Hitler's Polemic | |
| |
| |
| Kenneth Burke, "The Rhetoric of Hitler's 'Battle'" | |
| |
| |
| Tracking Down Implications | |
| |
| |
| The Pentadic Ratios: Scene-Agent | |
| |
| |
| The Scene-Agent Ratio: The Writer as Propagandist | |
| |
| |
| Summary | |
| |
| |
| Research and Writing Activities | |
| |
| |
| |
| Terministic Screens | |
| |
| |
| Representative Anecdotes | |
| |
| |
| Scope and Circumference | |
| |
| |
| Cluster Analysis | |
| |
| |
| Cluster Analysis: William Carlos Williams's "The Red Wheelbarrow" | |
| |
| |
| The Image and the Word | |
| |
| |
| Bryan Singer's The Usual Suspects | |
| |
| |
| The Pentadic Ratios: Act-Agency | |
| |
| |
| Hacktivism | |
| |
| |
| The Act-Agency Ratios of Hacktivism | |
| |
| |
| Civil and Electronic Disobedience | |
| |
| |
| Henry David Thoreau, "Resistance to Civil Government" (Civil Disobedience) | |
| |
| |
| Tracking Down Implications | |
| |
| |
| Summary | |
| |
| |
| Research and Writing Activities | |
| |
| |
| |
| The Resources of Terminology | |
| |
| |
| Signs, Signifiers, and Signifieds | |
| |
| |
| "What Are the Signs of What?" | |
| |
| |
| Entelechy and "Jumping to Conclusions" | |
| |
| |
| The Five Dogs of Meaning | |
| |
| |
| The Strategies of Dialectic: Merger and Division | |
| |
| |
| Plato's Gorgias | |
| |
| |
| Plato, Gorgias (380 BCE) | |
| |
| |
| Tracking Down Implications | |
| |
| |
| Dialogue and Dialectic | |
| |
| |
| Plato's Phaedrus | |
| |
| |
| The Pentadic Ratios: Agent-Purpose | |
| |
| |
| Serial Narratives/Serial Murderers: Thomas Harris's Hannibal | |
| |
| |
| The Rhetoric of Desire | |
| |
| |
| Thomas Harris, From Hannibal | |
| |
| |
| Summary | |
| |
| |
| Research and Writing Activities | |
| |
| |
| |
| The Public Memory, Rhetoric, and Ideology | |
| |
| |
| The Dissociative Memory and "Purposive Forgetting" | |
| |
| |
| Repression, Memory, and Aphasia | |
| |
| |
| Dramatism and Rhetoric as Ideological Inquiry | |
| |
| |
| Hegemony | |
| |
| |
| "To Infinity ... and Beyond!": The Case of Toy Story 2 | |
| |
| |
| The Pentadic Ratios: Scene-Purpose | |
| |
| |
| Scene-Purpose in Don DeLillo's White Noise | |
| |
| |
| Don DeLillo, White Noise, Chapter 15 | |
| |
| |
| Tracking Down Implications | |
| |
| |
| The Rhetoric of Substance | |
| |
| |
| Kenneth Burke, Paradox of Substance | |
| |
| |
| Tracking Down Implications | |
| |
| |
| Summary | |
| |
| |
| Research and Writing Activities | |
| |
| |
| Glossary | |
| |
| |
| Bibliography | |
| |
| |
| Credits | |
| |
| |
| Index | |