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)

In the vicinity of the work we were suddenly somewhere else than we usually tend to be.In “the age of commemoration” (Stone 2010), it is ironic that we have developed such an affective immunity to the commemorative artifacts that fill our cities. In downtown Washington, Boston, or Philadelphia, many pedestrians stroll past a dozen or more memorials in a single afternoon, usually failing to pay much attention to the specific historical calling they make. Outside the ritualistic and consumptive settings where (...) tourists encounter a city’s most popular monuments, many artifacts of public memory simply blend into the mundane architectural atmosphere that surrounds them. As John Berger has pointed out, works of art—and .. (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)

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)