In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.4 (2000) 303-318 [Access article in PDF] The Threshold of the Self Bradford Vivian The subject has a history. Classical Greek sculpture expressed a fascination with the formal beauty of one's self. Ever gazing outward or upward, the marble figures symbolized the Greek preoccupation with a boldness of being, a constant focus on the ideals of the body and mind, which, through their pursuit, might allow (...) one a foretaste of heaven. Centuries later, as the pagan symbols of the ancient world were replaced with those of the growing Byzantine Empire, blocks of the same marble were fashioned into very different expressions. The ideals of form made manifest in the smooth, taught lines and surfaces of classical Greek sculpture were supplanted by Byzantine art's attention to the less perfect details of the individual: distinctive and common faces, beards, clothing, and less glorified bodies. The gazes of the Byzantine statues were cast down, contemplative, reflecting Byzantium's early Christian emphasis upon the modesty of human existence, the pious appraisal of one's time on Earth. Each of these sculptural styles is a material way of thinking and expressing one's being in the world. In this context, each is also symptomatic of the conditions in which such being was possible.The subject must not be conceived as a transcendent entity. Quite to the contrary, there is a historicity to our being and its expression, to our subjectivity and its elaboration. Within a more sweeping perspective, our epochal narratives of the subject--as well as the modes of thought and speech by which we make sense of ourselves--change with each passing age.At the forefront of the current era is a manifold effort to rethink and elaborate anew the concept of the subject. Feminist scholars have initiated political critique and transformation by arguing that the very notion of a subject in Western discourse has functioned as a trope of masculine privilege cloaked in the language of equality and secular humanism. 1 Postmodernists, of course, define contemporary subjectivity as de-centered and fragmented by nature (e.g., Baudrillard 1994; Latour 1993; Lyotard 1984). And [End Page 303] a variety of interdisciplinary studies illuminate the role of modern science and technology in not only sustaining our being, but actually constituting the human; in short, our daily interdependence and union with artificial body parts, synthetic products, life-support machines, test-tube reproduction, computers, and more, characterizes the arrival of what has been called "the posthuman." 2 Like ancient marble from a quarry, however, all of these materials are sculpted in historically specific ways to simultaneously think and express our subjectivity.What role might rhetoric play in this re-imagining of subjectivity? Modern Western thought has defined the subject according to content--that is, by the nature of the essence or being the subject is said to possess. Drawn around this content, the subject comes to appear enclosed, perhaps autonomous, and identical to itself. In this essay, however, I argue that the self may be conceived as a form--a rhetorical form--that exists only in its continual aesthetic creation, in its indefinite becoming. The self is, by this account, isomorphic with the threshold out of which it is composed. Such a formulation makes the self open to difference, to continual movement and transformation, instead of identical to itself.I aim in this essay to explore the abstract rhetorical forms and functions out of which the self is composed. The distinction here amounts to no longer asking, "What is a subject?" but, "What conditions and forces enable the ongoing production of the self?" Commensurate with such a proposal, it will be essential to ask how this movement--this continual becoming--of the self is brought about. The answer to this question ultimately will amplify the role of rhetoric in, not simply expressing, but actually producing conditions of being. In what follows, I begin by reviewing the very general aspects of subjectivity that I wish to call into question. Thereafter, I explore how the subject might be conceived differently. Finally, I discuss the manner in which rhetoric may... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 328-344 [Access article in PDF] Spaces of Invention:Dissension, Freedom, and Thought in Foucault Kendall R. Phillips Over the past two decades, invention has become an increasingly difficult concept to discuss. In an age when the free, rational actor has become not only de-centered but viewed as both impossible and undesirable by some social theorists, the traditional conception of invention, especially rhetorical invention, becomes more (...) tenuous. While some continue to promote a rational deliberative model of the human subject—Habermas is a prime example of this school of thought—the harsh and unrelenting critiques of poststructural and postmodern thinkers have cast these recovery efforts in a nostalgic and often negative light. Chief among these critics of the modern, humanist conception of human action is Michel Foucault. Within Foucault's perspective our utterances are governed by underlying rules of discourse formations, our actions are proscribed and authorized by relations of power, and our very conception of our self is circumscribed by technologies of subjectivity. Contained within these intertwined relations of knowledge, power, and subjectivity, the human subject takes on a very different meaning and even the concept of "human subject" is itself a product of these intertwined relations; a product that may, in time, disappear under new relations of discourse and governance.Despite the apparent centrality of a creative human subject to the study of rhetoric, Foucault has taken his place within the study of rhetoric. Of course, neither this incorporation of Foucault nor the observation of its peculiarity is particularly new. The incorporation of Foucault into rhetoric took its most dramatic turn in 1989 with Raymie McKerrow's "Critical Rhetoric" essay and the implications of this union of Foucault and rhetoric were forcefully raised by Barbara Biesecker in "Michel Foucault and the Question of Rhetoric" (1992). These two important essays made the relationship between Foucault and rhetoric most pressing: McKerrow by offering [End Page 328] a practical agenda for a Foucaultian rhetorical perspective and Biesecker by opening a space for reflection on this type of agenda. In the intervening decade, however, the incorporation of Foucault into rhetoric has outstripped the reflection on this incorporation and Foucault now sits as comfortably in the bibliographies of rhetorical scholars as Burke or McKeon or Perelman.The purpose of the present essay is to revisit this relationship between Foucault and rhetoric. I pursue this end not in order to critique McKerrow's project or to outstrip Biesecker's reflections, but in order to press the importance of their earlier arguments. The project of a Foucaultian rhetoric should be taken seriously, seriously enough to keep the peculiarity of this union in the forefront of our minds as we pursue it. My present effort furthers this end by seeking within Foucault a space for invention and, in so doing, asks the question: how might invention be rendered within a Foucaultian framework?My contention is that a space for invention exists within Foucault's studies of knowledge, power, and subjectivity and that this space can be demonstrated by considering the counterpoints to his tripartite understanding of the human condition. The limiting/enabling relations of knowledge/power/subjectivity are counterpointed by three terms that describe the conditions for invention: dissension, freedom, and thought. Before turning to the conditions for these spaces of invention and the unique shape of invention that emerges from them, I will briefly consider previous discussions of Foucault. Power, resistance, and invention Rhetoricians, to be clear, are not the first to be concerned with the apparent foreclosing of the possibility of invention within Foucault. Focusing mainly on dominating relations of power/knowledge/subjectivity, Foucault seems to leave little ground for the creation of new ways of acting, speaking, or being. However, what I call a concern for invention has generally not been expressed as such; rather, in rhetoric and in other fields, criticism of Foucault has been largely couched in terms of resistance. Edward Said (1986), for instance, contends that Foucault's work is "not finally as contestatory, or as oppositional as on the surface it seems to be" (152... (shrink)