The speech style of Anna Howard Shaw

Linkugel, Wil A.

doi:10.1080/10510976209362645

Cited by 3 publications

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“…Doris G. Yoakam's pioneering study set a precedent for this research. Since her early work, the discourse of women from the past has been recovered, analyzed, and used as a basis for rhetorical theory (for different examples, see Kendall and Fisher 1974;Linkugel 1962;Campbell 1980;McGee 1980). Karlyn Kohrs Campbell's (1986) current project on fifty American feminist orators exemplifies work which will contribute to historical knowledge of women and rhetorical practice.…”

Section: Women and Their Relationsmentioning

confidence: 99%

Rhetorical and Historical Inquiry in the Feminist Reconstitution of Knowledge

Altman

1988

Journal of Communication Inquiry

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Rhetoric has often been in the scapegoated position of the radically &dquo;other&dquo;-sometimes elevated as the marginal hope of language or more frequently debased as its common whore. It is usually contrasted with logic or science which may assume the figurative position of legitimate 'wife' of the mind. The tendency to expect everything or nothing at all from rhetoric is still prevalent, as is the ambivalence the term itself seems to engender. (Dominick LaCapra 1985) Among the many problems examined in contemporary feminist thought are feminism as politics vis-fi-vis feminism as theory, feminism in science, and the relationships among feminism and other critical studies such as marxism, deconstruction, and postmodernism. Feminist scholarship across the divisions of the academy challenges traditional research questions, procedures, and theories used in the production of knowledge and argues for a reconstitution of knowledge by placing women and their relations at the center of the process of inquiry. Recently, for example, a conference titled &dquo;Feminist Studies: Reconstituting Knowledge&dquo; brought together scholars from the fields of science, history, literary studies, psychoanalysis, and social theory. An important dimension of the conference and its publication, Feminist StudieslCritical Studies, involved the interdisciplinary or, perhaps, non-disciplinary approach to knowledge as a feminist pursuit (de Lauretis 1984). Part of the feminist &dquo;reconstitution&dquo; demands challenging the division and compartmentalization of knowledge established by the academy, the same institution which now, it is claimed by some, works to mainstream feminist critical practice for its own recuperative purposes.Scholars in communication studies are generally open to suggestions of interdisciplinary approaches to knowledge. Communication researchers often work with concepts related to social psychology, organizational theory, and sociology, for example. Media or mass communication theorists work with a variety of social scientific concepts (such as sociological ones), on the one hand, or with critical and interpretive ones (such as political-economy or literary theory), on the other.Rhetorical scholars also work theoretically and critically with concepts related to literary criticism, philosophy, or linguistics. On this fundamental point of the interdisciplinary construction of knowledge, then, it would seem that a feminist

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Section: Women and Their Relationsmentioning

confidence: 99%

Rhetorical and Historical Inquiry in the Feminist Reconstitution of Knowledge

Altman

1988

Journal of Communication Inquiry

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“…While many aspects of the suffrage movement have been examined, including public address (Campbell, 1989a;Cathcart, 1972;Huxman, 2000;Japp, 1985;Linkugel, 1962Linkugel, , 1963Miller, 1999), audience construction (Welter, 1966;Zeaske, 1995), parades (Borda, 2002;Moore, 1997), petitions (Zaeske, 2002), cartoons (Dow, 2002), and dress reform (Torrens, 1997), suffrage songs have not been analyzed by rhetorical scholars to understand their contribution to the movement, the persuasive limitations of suffrage music, or contextual challenges in the use of the music by women seeking the ballot. Most significant for this study, suffrage songs may either reify or challenge the ideals depicted by the Cult; songs may thereby serve to sustain existing discursive identities for women or to develop new ones.…”

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confidence: 99%