Epistemic rhetoric of music

Katz

Premise(s):

-most of our culture's knowledge about knowledge (epistemic) is based on visual culture/experience (xi)

--`this reminds me of how science and technology have become religion in the U.S.

Katz sees a loss of focus on rhythm and tone (but what about movement and flow built into digital rhetorics?)

-interesting concept sbout thr footnote (xiv)

-Cannot teach; only learn (Cicero) (70, 117)

-Exigency (70)--hello, bitzer?

-Constraining nature of studying techne,

--timbre: sound quality (87)-Dan should look up Stanford

-music as universal language (99)

-Eloquence (125)

Skeptical of Reader Response Critique

-but his notion of RRC seems to be a tightly constrained one (fill in the blank or question response) rather than respond to the reading (56)

-seems to forget/not know feminist scholarship who have been grapling with this for years

Theory based heavily on Cicero's concept of eloquence Skeptical of certain scholars

-Technical rhetoricians

-absolute philosophers (101-2)

Theory:

Argument/quest?: "a theory of affective response in reading and writing based on sensous nature of language as sound" (2; 75)

--missing that we use all our senses to understand the world and develop rhetoric (food included)

-"feelings" and "emotion" = gross reduction of experience

--feeds cartesian duality

-Solid development of outside scholars (Cicero, Isocratesm Leff, Ong, Ochs, Langer, Marrou...)

-Writing as a structured parlor--structure of inquiry and objectification of existence (64, 69)

Focus on orality

-performance as experience

Qs:

-How do you see "the universal" within his concept of affective experience?

-what are the limitations to his theory?