Since fracking emerged as a way of extracting natural gas, through intense deep drilling and the use of millions of gallons of water and chemicals to fracture shale, it has been controversial. It is perceived in different ways by different people—by some as an opportunity for increased resources and possibly jobs and other income; by others as a public health and environmental threat; and for many, an unknown. Richard Buttny, a scholar who works on rhetoric and discursive practices, read a story in his local paper in New York about hydrofracking coming to his area and had to research what it was, and what it could mean for his community. Soon he joined neighbors in fighting to have the practice banned state-wide. At the same time, he turned his scholarly eye to the messaging from both sides of the fight, using first-person accounts, interviews, and media coverage.
The activists fighting fracking won. New York is now the only state in the US with sizable deposits of natural gas that has banned hydraulic fracturing, or fracking. Unfracked explains the competing rhetoric and discourses on fracking among New York-based advocates, experts, the grassroots, and political officials. Buttny examines how these positions evolved over time and how eventually the state arrived at a decision to ban this extractive technology. His accessible approach provides both a historical recounting of the key events of this seven-year conflict, along with four in-depth case studies: a grassroots citizen group, a public hearing with medical physicians, a key intergovernmental hearing, and a formal debate among experts. The result is a look at a very recent, important historical moment and a useful examination of environmental activist and fossil fuel advocate rhetoric around an issue that continues to cause debate nationwide.
In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself.
Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses.
Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as “all the President’s women,” including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups—Navajo, Apache, Hopi, and Pueblo—and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power.
Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers.
Untimely Women recovers the work of three early-twentieth-century working women, none of whom history has understood as feminists or rhetors: cinema icon and memoirist, Mae West; silent film screenwriter and novelist, Anita Loos; and journalist and mega-publisher, Marcet Haldeman-Julius. While contemporary scholarship tends to highlight and recover women who most resemble academic feminists in their uses of propositional rhetoric, Jason Barrett-Fox uses what he terms a medio-materialist historiography to emphasize the different kinds of political and ontological gender-power that emerged from the inscriptional strategies these women employed to navigate and critique male gatekeepers––from movie stars to directors to editors to abusive husbands.
In recasting the work of West, Loos, and Haldeman-Julius in this way, Barrett-Fox reveals the material and ontological ramifications of their forms of invention, particularly their ability to tell trauma in ways that reach beyond their time to raise the consciousness of audiences unavailable to them in their lifetimes. Untimely Women thus accomplishes important historical and rhetorical work that not only brings together feminist historiography, rhetorical materialism, and posthumanism but also redefines what counts as feminist rhetoric.READERS
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