English

The aim of this essay is to introduce, contextualize, and provide rationale for texts published in the Humanities special issue, Histories of Ethos: World Perspectives on Rhetoric. It surveys theories of ethos and selfhood that have evolved since the mid-twentieth century, in order to identify trends in discourse of the new millennium. It outlines the dominant theories—existentialist, neo-Aristotelian, social-constructionist, and poststructuralist—while summarizing major theorists of language and culture (Archer, Bourdieu, Foucault, Geertz, Giddens, Gusdorf, Heidegger). It argues for a perspectivist/dialectical approach, given that no one theory comprehends the rich diversity of living discourse. While outlining the “current state of theory,” this essay also seeks to predict, and promote, discursive practices that will carry ethos into a hopeful future. (We seek, not simply to study ethos, but to do ethos.) With respect to twenty-first century praxis, this introduction aims at the following: to acknowledge the expressive core of discourse spoken or written, in ways that reaffirm and restore an epideictic function to ethos/rhetoric; to demonstrate the positionality of discourse, whereby speakers and writers “out themselves” ethotically (that is, responsively and responsibly); to explore ethos as a mode of cultural and embodied personal narrative; to encourage an ethotic “scholarship of the personal,” expressive of one’s identification/participation with/in the subject of research; to argue on behalf of an iatrological ethos/rhetoric based in empathy, care, healing (of the past) and liberation/empowerment (toward the future); to foster interdisciplinarity in the study/exploration/performance of ethos, establishing a conversation among scholars across the humanities; and to promote new versions and hybridizations of ethos/rhetoric. Each of the essays gathered in the abovementioned special issue achieves one or more of these aims. Most are “cultural histories” told within the culture being surveyed: while they invite criticism as scholarship, they ask readers to serve as witnesses to their stories. Most of the authors are themselves “positioned” in ways that turn their texts into “outings” or performances of gender, ethnicity, “race,” or ability. And most affirm the expressive, epideictic function of ethos/rhetoric: that is, they aim to display, affirm, and celebrate those “markers of identity/difference” that distinguish, even as they humanize, each individual and cultural storytelling. These assertions and assumptions lead us to declare that Histories of Ethos, as a collection, presents a whole greater than its essay-parts. We conceive it, finally, as a conversation among theories, histories, analyses, praxes, and performances. Some of this, we know, goes against the grain of modern (Western) scholarship, which privileges analysis over narrative and judges texts against its own logocentric commitments. By means of this introduction and collection, we invite our colleagues in, across, and beyond the academy “to see differently.” Should we fall short, we will at least have affirmed that some of us “see the world and self”—and talk about the world and self—through different lenses and within different cultural vocabularies and positions.

Oglala Lakota ethos manifests a pre-Socratic/Heideggerian variant of ethos: ethos as “haunt”. Within this alternative to the Aristotelian ethos-as-character, Oglala ethos marks out the “dwelling place” of the Oglala Lakota people. That is, the Oglala Lakota ground their cultural- and self-identity in the land: their ethology, in effect, expresses an ecology. Thus, an Oglala Lakotan ethos cannot be understood apart from its nation’s understanding of the natural world—of its primacy and sacredness. A further aspect of the Oglala Lakotan ethos rests in the nation’s history of conflict with EuroAmericans. Through military conflict, forced displacement, and material/economic exploitation of reservation lands, an Oglala Lakota ethos bears within itself a woundedness that continues to this day. Only through an understanding of ethos-as-haunt, of cultural trauma or woundedness, and of the ways of healing can Oglala Lakota ethos be fully appreciated.

This chapter focuses on incorporating imitation practices into a student’s writing toolbox. By encouraging students to look more rhetorically at writing through imitation, they learn to recognize that language is more dynamic, and they can approach writing tasks with more contemplative thought instead of as a dreaded task. Through the use of structural and contextual imitation, students gain more insight into how sentences create meaning, how they can be changed, and how the decision-making process- es relate to putting certain writing elements in certain locations for specific effects. While this article briefly touches on plagiarism as being distinct from imitation, students should recognize that imitation is not mindlessly copying, but mindfully understanding the rationale and effect of sentence structure, variety, and placement. They also learn how words form mean- ing within a sentence and, by extension, paragraphs and the overall paper. Imitation helps student writers realize that the more models, authors, and examples they can imitate, the more diverse and expressive their writing will become. Each time they understand how and why another author’s sentence does what it does, they can use that insight in their own writing, which also increases their confidence.

Rachel Carson’s Silent Spring (1962) created a new genre termed “science nonfiction literature.” This genre blended environmental science and narrative while ushering in a new era of awareness and interest for both. With the contemporary climate crisis becoming more dire, this article returns to Carson’s work for insight into ways to engage deniers of climate change and methods to propel action. Further, it investigates and evaluates the writing within Silent Spring by considering its past in our present. Using the corporate reception of Carson’s book as reference, this article also examines ways climate change opponents create misunderstandings and inappropriately deceive and misdirect the public. Through this analysis, connections are made that connect literature, science, and public engagement, which can engender a broader, more comprehensive awareness of the importance of environmental literature as a medium for climate awareness progress.

This article posits that disability activists routinely present a disability “ethos of invention” as central to the reformation of an ableist society. Dominant societal approaches to disability injustice, such as rehabilitation, accessibility, and inclusion, may touch upon the concept of invention; but, with ethotic discourse, we emphasize disability as generative and adept at producing new ways of knowing and being in the world. We identify an “ethos of invention” as driving early resistance to socially constructed “normalcy”, leading the push for cross-disability alliances to incorporate intersectional experiences and propelling the discursive move from inclusion to social justice. Through our partial re-telling of disability rights history, we articulate invention as central to it and supporting its aims to affirm disability culture, reform society through disabled perspectives and values, and promote people with disabilities’ full participation in society.

The aim of this essay is to introduce, contextualize, and provide rationale for texts published in the Humanities special issue, Histories of Ethos: World Perspectives on Rhetoric. It surveys theories of ethos and selfhood that have evolved since the mid-twentieth century, in order to identify trends in discourse of the new millennium. It outlines the dominant theories—existentialist, neo-Aristotelian, social-constructionist, and poststructuralist—while summarizing major theorists of language and culture (Archer, Bourdieu, Foucault, Geertz, Giddens, Gusdorf, Heidegger). It argues for a perspectivist/dialectical approach, given that no one theory comprehends the rich diversity of living discourse. While outlining the “current state of theory,” this essay also seeks to predict, and promote, discursive practices that will carry ethos into a hopeful future. (We seek, not simply to study ethos, but to do ethos.) With respect to twenty-first century praxis, this introduction aims at the f...

Oglala Lakota ethos manifests a pre-Socratic/Heideggerian variant of ethos: ethos as “haunt”. Within this alternative to the Aristotelian ethos-as-character, Oglala ethos marks out the “dwelling place” of the Oglala Lakota people. That is, the Oglala Lakota ground their cultural- and self-identity in the land: their ethology, in effect, expresses an ecology. Thus, an Oglala Lakotan ethos cannot be understood apart from its nation’s understanding of the natural world—of its primacy and sacredness. A further aspect of the Oglala Lakotan ethos rests in the nation’s history of conflict with EuroAmericans. Through military conflict, forced displacement, and material/economic exploitation of reservation lands, an Oglala Lakota ethos bears within itself a woundedness that continues to this day. Only through an understanding of ethos-as-haunt, of cultural trauma or woundedness, and of the ways of healing can Oglala Lakota ethos be fully appreciated.

One's voice is partly a marker of one's authorial personality. Voice is both metaphorical and rhetorical. Further, the concept of voice embodies one's cognitive and auditory representation of oneself. Voice articulates an ethotic narrative, of sorts, that offers insight into the storyteller. I stutter. I have for as long as I can remember. My internal dialogue has to accommodate my outward voice, which can be dysfluent and haphazard. My voice, and yours too, carries with it personality and experience. The latter can be a burden. However, it is true to who we are. Our voice carries hopes and dreams, fears and ambitions. It can freeze us or free us.

Constructed languages (conlangs) are a way for fans and audiences to more fully immerse themselves in a story. Conlangs provide for that itch of mystery and intrigue that allow us to engage with our internal puzzle solver. As we struggle to figure out words and phrases, we are becoming part of the story – we put ourselves into character’s places and consider what and how we might interact with this new language. Further, conlangs encourage us to think about language and what we mean when we say something. They also make us ponder how everything we encounter has a name and how every name has a story. Perhaps no television episode in history exemplifies this investigative itch more than the Star Trek: The Next Generation’s (TNG, 1987-1994) season five episode, “Darmok.”

The Practices & Possibilities Series addresses the full range of practices within the field of Writing Studies, including teaching, learning, research, and theory. From Joseph Williams' reflections on problems to Richard E. Young's taxonomy of "small genres" to Adam Mackie's considerations of technology, the books in this series explore issues and ideas of interest to writers, teachers, researchers, and theorists who share an interest in improving existing practices and exploring new possibilities. The series includes both original and republished books. Works in the series are organized topically.