Techne, from Neoclassicism to Postmodernism

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Techne, from Neoclassicism to Postmodernism offers a deconstructive reading of the debates that have surrounded the term techne in rhetoric and composition, explaining how we can affirm its value as a theory and pedagogy of writing without denying the legitimacy of the postmodern critiques that have been leveled against it.

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Published 21 May 2011
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EAN13 9781602352094
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PENDER
TECHNE , TECHNE fromNeocl assicismtoPos tmoderNism
 
UNderstaNdiNgWritiNgasaUsefUl, teachableart
KELLY PENDER
Techne, from Neoclassicism to Postmodernism
Lauer SerIes In RHetorIc and ComposItIon Séîéŝ Eîôŝ: Càéîé ôbbŝ, Pàîçîà Sûllîvà, Tôàŝ Rîçké, à Jéîé Bày
Té Làûé Séîéŝ î Réôîç à Côôŝîîô ôôŝ é çôîbûîôŝ Jàîçé Làûé ûô àŝ àé ô é éégéçé ô Réôîç à Côôŝîîô àŝ à îŝ-çîlîày ŝûy. ï ûblîŝéŝ ŝçôlàŝî à çàîéŝ ô Pôéŝŝô Làûé’ŝ vàîé wôk î é îŝôy ô wîé éôîç, îŝçîlîàîy î çôôŝîîô ŝûîéŝ, çôéôày éàgôgîçàl éôy, à wîé lîéàçy éôy à éŝéàç.
OtHer Books In tHe SerIes
Retorîc’s Eartly Realm: Heîdegger, Sopîstry, and te Gorgîan Kaîrosby Béà Alà Mîllé (2011) Greek Retorîc Before Arîstotle, Révîŝé à Exàé Eîîô, by Rîçà Léô Eôŝ (2011) Walkîng and Talkîng Femînîst Retorîcs: Landmark Essays and Controversîes, é-îé by Lîàl Bûçàà à Kàléé J. Ryà (2010) Transformîng Englîs Studîes: New Voîces în an Emergîng Genre, éîé by Lôî Oŝégàà, Jé Lûwîg, à Jî Nûgé (2009) Ancîent Non-Greek Retorîcs, éîé by Càôl S. Lîŝô à Rôbéà A. Bîkléy (2009) Roman Retorîc: Revolutîon and te Greek Influence, Révîŝé à Exàé Eîîô, by Rîçà Léô Eôŝ (2008) Storîes of Mentorîng: Teory and Praxîs, éîé by Mîçéllé F. Eblé à LyÉé Léwîŝ Gàîllé (2008) Wrîters Wîtout Borders: Wrîtîng and Teacîng în Troubled TîmesLy Z. by Blôô (2008) 1977: A Cultural Moment în Composîtîon, by Bé ézé, Jàçk Sélzé, à Wéy Sàé (2008) Te Promîse and Perîls of Wrîtîng Program Admînîstratîon,éîé by Tééŝà Eôŝ à Sàé Bôôwà (2008) Untenured Faculty as Wrîtîng Program Admînîstrators: Instîtutîonal Practîces and Polîtîcs, éîé by Débà Fàk Déw à Alîçé ôîg (2007) Networked Process: Dîssolvîng Boundarîes of Process and Post-Process by élé Fôŝé (2007) Composîng a Communîty: A Hîstory of Wrîtîng Across te Currîculum, éîé by Sûŝà . MçLéô à Màgô ïîŝ Sôvé (2006) Hîstorîcal Studîes of Wrîtîng Program Admînîstratîon: Indîvîduals, Communîtîes, and te Formatîon of a Dîscîplîne, éîé by Bàbàà L’Elàéîé à Lîŝà Màŝàgélô (2004). Wîé ô é WPA Béŝ Bôôk Awà ô 2004–2005. Retorîcs, Poetîcs, and Cultures: Reigurîng College Englîs Studîes(Exàé Eîîô) by Jàéŝ A. Bélî (2003
TECHNE, FROM NEOCLASSICISM TO POSTMODERNISM
Understandîng Wrîtîng as a Useful, TeacHable Art
Kélly Péé
Pàlô Péŝŝ Anderson, Sout Carolîna www.àlôéŝŝ.çô
Pàlô Péŝŝ LLC, Aéŝô, Sôû Càôlîà, USA
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S A N: 2 5 4 - 8 8 7 9
Lîbày ô Côgéŝŝ Cààlôgîg-î-Pûblîçàîô Dàà
Péé, Kélly, 1974-Téçé, ô éôçlàŝŝîçîŝ ô ôŝôéîŝ : ûéŝàîg wîîg àŝ à ûŝéûl, éàçàblé à / Kélly Péé.  . ç. -- (Làûé ŝéîéŝ î éôîç à çôôŝîîô) ïçlûéŝ bîblîôgàîçàl éééçéŝ à îéx.  ïSBN 978-1-60235-207-0 (bk. : àlk. àé) -- ïSBN 978-1-60235-208-7 (àçôvé : àlk. àé) -- ïSBN 978-1-60235-209-4 (àôbé ébôôk) -- ïSBN 978-1-60235-210-0 (éûb) 1. Téçé (Pîlôŝôy) 2. Côôŝîîô (Làgûàgé àŝ) ï. Tîlé. B105.T43P46 2011 808.001--ç22  2011010084
Côvé éŝîg by Dàvî Blàkéŝléy. Pîé ô àçî-éé àé.
Pàlô Péŝŝ, LLC îŝ à îééé ûblîŝé ô ŝçôlàly à àé îléŝ î î à ûlîéîà ôàŝ. Tîŝ bôôk îŝ àvàîlàblé î àé, çlô à Aôbé éBôôk ôàŝ ô Pàlô Péŝŝ ô é Wôl Wîé Wéb à :// www.àlôéŝŝ.çô ô ôûg ôlîé à bîçk-à-ôà bôôkŝôéŝ. Fô ŝûbîŝŝîô îôàîô ô ô î ôû àbôû Pàlô Péŝŝ ûblîçàîôŝ, wîé ô Pàlô Péŝŝ, 3015 Bàçkébéy Dîvé, Aéŝô, Sôû Càôlîà, 29621, ô éàîl éîô@àlôéŝŝ.çô.
In Memory of My MotHer, Carolyn WHîtley Pender, 1942-1989
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Contents
Açkôwlégéŝîx ïôûçîô3
1 Wà ïŝTecne?13 2 Té Néw Clàŝŝîçîŝ Déîîîô ô A39 3 Pôŝôé Téôy à é Ré-Tôôlîg ôTecne73 4 Clôŝîg Dôw à Oéîg U:Tecneà é ïŝŝûé ô ïŝûéàlîy103 5 Clôŝîg Dôw à Oéîg U:Tecneà é ïŝŝûé ô Téàçàbîlîy122 6 WyTecne?Wy Nôw?139
Nôéŝ153 Wôkŝ Cîé169 ïéx181 Abôû é Aûô187
vîî
Acknowledgments
Aŝ ï wàŝ îîŝîg û y bàçélô’ŝ égéé à é Uîvéŝîy ô Nô Càôlîà à Càél îll, ï à à çôvéŝàîô wî Jàé Dàîéléwîçz àbôû wà y éx ŝé wôûl bé. Kôwîg à ï wàŝ îééŝé î wîîg, Jàé ŝûggéŝé à ï çôŝîé àlyîg ô é àŝé’ŝ ô-gà î Eglîŝ à Nô Càôlîà Sàé Uîvéŝîy ŝîçé éy à à àçk î éôîç à çôôŝîîô. O çôûŝé ày àçôŝ àéç ôw wé’vé àll gôé ô wéé wé àé, à, î ŝôé wàyŝ, î’ŝ ŝîlly ô ŝîglé ôû ôé ô ôŝé àçôŝ à àîbûé ŝéçîàl îôàçé ô î. Névééléŝŝ ï à ŝûé à î Jàé à ô àé îŝ éçôéà-îô, ï wôûl ô bé éé, ôîg à jôb à ï lôvé î à làçé à ï lôvé. Sô, ï wà ô àk Jàé Dàîéléwîçz, à îé à éô wô ûé-ŝôô wà ï wàé ô ô wî y lîé béôé ï î. A Nô Càôlîà Sàé, ï à é gôô ôûé ô wôkîg wî Sévé Kàz, Càôly Mîllé, à Mîçàél Càé. Alôûg ï à ŝûé îŝ bôôk ôvîéŝ àlé évîéçé à ï àvé ô lîvé û é éxàlé éy ŝé, ï véy ûç àéçîàé àvîg wôké wî ŝçôlàŝ wôŝé éŝéàç îŝ àŝ çàéûl à îgôôûŝ àŝ éîŝ îŝ. Aŝ Càéŝ 4 à 6 ô îŝ bôôk éôŝàé, Mîké’ŝ wôk àŝ à à éŝéçîàlly ôwéûl îàç ô ôw ï ûéŝà wîîg. A éàlîé véŝîô ô Càé 4 wàŝ ûblîŝé àŝ “Négàîô à é Côàîçôy Téçîçŝ ô Réô-îç” îRetorîc Socîety Quarterly38.1 (2008): 2-24. Fô NCSU, ï wé ô Pûûé, à î îŝ ô é îéŝ à éàçéŝ ï é éé à ï ôwé é géàéŝ éb. Jàîçé M. Làûé îgîé y îééŝ î é ébàéŝ ŝûôûîg é é “tecne” by îôûçîg é ô îŝ lôg à çôlîçàé îŝôy wîôû léîg é ŝûççûb ô é îéà à éé wàŝ ôîg lé ô ŝày àbôû î. Tôàŝ Rîçké àŝ àlŝô géàly îlûéçé é à îŝ bôôk—îŝ àŝ à éàçé, é àŝ à îé, à îàlly àŝ à éîô. ï à véy gàéûl ô î à ô Jéy Bày, é ôé Làûé ŝéîéŝ éîô, ô éî ŝûô ô y wôk à é élûl çôéŝ éy’vé gîvé é àlôg é wày. ï àlŝô wà ô àk Kàé Kôélŝô, wîôû wôŝé îéŝî à îçîŝîvé çôéày
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