This paper attempts to show how Martin Heidegger’s phenomenological interpretation of Aristotle’s theory of rhetoric can be interpreted usefully to understand the existential dimension of communication. Heidegger’s treatment of communication as a phenomenon is ontologically broader as he locates it within the existential analytics of Dasein. Taking Heidegger’s 1924 Marburg lecture, Being and Time and other texts dealing with the problem of the being of language as theoretical sources, this study first presents the importance of Heidegger’s conception of rhetoric and (...) then shows how this throws light on the ontological aspects of communication as such. Human beings in their basic mode of existence as being-in-the-world and speaking-with-one-another is always already in communication through language. If rhetoric is a way of having the existential view about how matters present themselves in a particular manner by virtue of speaking about it with-one-another, then it is in the region of the doxa of people. Further, how existential communication works in our concrete life is demonstrated through a rhetorical analysis of the film Blow-Up. (shrink)

Walter Fisher's narrative paradigm has sparked intense debate about the role of narratives in rhetorical scholarship. The theory has subsequently been followed up by numerous criticisms and revisions. This article argues that especially the latter can benefit from a complementary phenomenological perspective that Fisher himself placed within the original paradigm. Through the Heideggerian concepts of building and dwelling, rhetoric within the narrative paradigm may be seen as a primary means for engaging with both individual and communal goals and exigencies, providing (...) a more nuanced account for how people care for and act on the narratives in their lives. (shrink)

But that which remains the poets have founded.In contemporary rhetorical theory, the relationship between rhetoric and art tends to be articulated in terms of aesthetics. This increasingly popular discourse on “aesthetic rhetoric,” however, is characterized by a remarkable diversity. The rhetoric of fiction, poetry, and other literary genres, for example, has been explored in these terms (e.g., Booth 1983), as has the rhetoric of film (Haskins 2003), photography (Hariman and Lucaites 2007), and even natural landscapes (Clark 2004). From a different (...) perspective, aesthetics has been distilled to a range of “features” or “elements” that a given text is said to possess. Nathan Crick and Jeremy Engels, for example .. (shrink)

In the early work of Martin Heidegger, I argue, we can confect a particular and particularly useful conception of rhetoric as a capacity to articulate situatedness by means, in part, of a more precise vocabulary for what I call the phenomena of everydayness. One aspect of this claim is that rhetoric is a diagnostic of established positions. Practicing what I preach, my first task here is to articulate as synoptically as possible the established positions on the topic at hand. In (...) the most general terms, that topic is “Heidegger and rhetoric.” We can identify eight stances in the literature. I articulate them in order of determinateness, as a series of specifications. First, before the publication in recent... (shrink)