Scott R. Stroud

While Immanuel Kant is an epochal figure in a variety of fields, he has not figured prominently in the study of rhetoric and communication. This book represents the most detailed examination available into Kant's uneasy but often misunderstood relationship with rhetoric. By explicating Kant's complex understanding of rhetoric, this book advances the thesis that communicative practices play an important role in Kant's account of how we become better humans and how we create morally cultivating communities.

In the present work, I constructively engage the thought of the American pragmatist John Dewey and the Zen Buddhist Dōmgen on moral cultivation. I argue that Dewey presents a useful notion of moral development and growth with a focus on attentiveness to one's situation, but I also note that he leaves out extended analysis of how one is to foster such an orientation. Turning to the writings of Dōmgen, I argue that Deweyan moral theory can be supplemented by the methods that Zen Buddhism prescribes to bring attentiveness back to one's experience of activity. This analysis is placed in the context of my overall project of orientational meliorism, or the alteration of one's orientation toward self, world, and activity with the goal of improving the quality of one's future experience.

Bhimrao Ambedkar is well-known as the architect of the Indian constitution, the document that created the world's largest democracy when it came into effect in 1950. Ambedkar is also famous, or infamous according to some religious partisans, in the Indian political context for his unflagging and often bombastic advocacy on behalf of India's so-called "untouchables." Being a Mahar, an untouchable caste in the Indian state of Maharashtra, Ambedkar knew of the struggles and the religiously underwritten violence that was foisted upon these swaths of Indian society. His struggles in and against the caste system, and the Hindu religious-philosophical system that frequently enabled it, are well documented by...

The thought of William James, due to its pragmatically-inclined and contextually-engaged character, would seem to hold great resources for normative subfields of philosophy such as business ethics. Yet not much research has been done on what James could tell us about substantive topics in business ethics, or in terms of the methodology of ethics research. I start such an exploration by examining the concept of the ideal in James's work and how it can be a conscious and vivid way of infusing activity with a larger significance, solving the problems James notes about current orientations toward activity that are driven by mere habit. I tie this analysis into two important issues in business ethics: the debate over what "integrity" is and the concern over the differing methods used in business ethics research.

This study seeks to understand and critique the growing online trend of “revenge porn,” or the intentional embarrassment of identifiable individuals through the posting of nude images online. This posting of intimate pictures, often done out of motives of revenge for perceived relational scorn, is enhanced by the varying levels of online anonymity. Using the theoretical framework of John Dewey's pragmatism, this study both analyzes this understudied but complex new problem precipitated by the conditions of the online self and establishes the groundwork for the use of pragmatist ethics in other areas of communication ethics.

In his work on aesthetics, John Dewey provocatively (and enigmatically) called art the "most universal and freest form of communication," and tied his reading of aesthetic experience to such an employment. I will explore how art, a seemingly obscure and indirect means of communication, can be used as the most effective and moving means of communication in certain circumstances. Dewey's theory of art will be shown to hold that art can be purposively employed to communicatively evoke a certain experience through an auditor's experience of an art object. Such a use is shown to be an extension of Dewey's conceptions of scientific method and the role of experience in criticism and communication, and is discussed in light of examples drawn from contemporary film, sculpture, and classical Japanese poetry.

Defining “criticism” is a simple—but bedeviling—task. No less a critic and theorist than Edwin Black begins with the simple statement that “criticism is what critics do.” While he admits that this seems like an empty definition, Black does note that it has one redeeming feature—“It compels us to focus on the critic” (1978, 4). Criticism and those who engage in it are integrally connected, and any account of critical activity must deal with both the activity and its actor. In this way, it is much like art—one could easily utter that “art is what artists do.” Criticism is often tied to art and its products, so this appears to be a fair way to proceed in an investigation of criticism. Yet I would argue ..

In lieu of an abstract, here is a brief excerpt of the content:Simulation, Subjective Knowledge, and the Cognitive Value of Literary NarrativeScott R. Stroud (bio)IntroductionLiterary narrative holds the power to move individuals to thought, reflection, action, and belief. According to a longstanding view of literature, it is this impact on the reader that leads to literary narrative being valued so highly in our culture and in others. What exactly is the value of literature? Humanists such as Peter Lamarque and Stein Olsen1 argue for this value in terms of perennial themes that literature allows one to "grapple with," as opposed to cognitivist accounts that discuss the value of literary narrative in terms of conveyed truths or knowledge. One particularly important position that explains the cognitive value of literature can be labeled the "Subjective Knowledge Theory" (SKT). Such an account of literature places its value in the subjective perspectives or experiences the narrative opens up to the reader. Thus, one can gain knowledge of "what it is like" to be caught in the throes of jealousy, endangered by an opposing army, or captivated by the lure of magical prowess. Lamarque and Olsen, however, argue that SKT is fundamentally flawed in its analysis of knowledge derivable from the literary narrative and in terms of its account of literary practice.I wish to defend a version of SKT in this article. In order to do so, I make and defend the following claims. First, Lamarque and Olsen's critique of SKT relies on a conflation of two distinct types of knowledge—the knowledge provided by the simulated subjective experience and its appropriation/ generalization to forms useful for the reader's real life activities. I will argue that the former of these outcomes is due strictly to the aesthetic features of the literary narrative, whereas the second involves a non-necessary psychological reaction to the text (that is, judgments of the veracity or usefulness of the text for one's own purposes). By conflating both of these into the cognitive knowledge derivable from the text, Lamarque and Olsen's critique can [End Page 19] gain its purchase against SKT. If these two processes and the resultant sorts of knowledge are separated, then the SKT account does seem to show how literature holds value in itself and in relation to the reader's moral activities/ judgments. Second, the process of simulation is the primary means by which one can gain any type of subjective knowledge from a literary narrative. This type of knowledge will be gained by virtue of the literary narrative's aesthetic qualities, which result in a certain type of activity in the reader. Third, I will argue that the second sort of knowledge—that derived from the simulated subjective experience—results from the process of reader identification with the values, beliefs, and/or behaviors of the simulated agent. This sense of identification involves selective appropriation and generalization and will be shown not to be subject to the critiques of simple identification offered by Noël Carroll.2 It is at this stage that individuals learn what they believe they ought to value, how they ought to act, and what they should believe from their experience of simulation in reading the literary narrative. Notice that this knowledge is separate from the first sort of knowledge, which is knowledge of what it is like to experience x through y's eyes.As I elucidate and defend these claims, I hope it will become clear that this is an account that does justice to the value resident in literature and in the activities readers do after they partake in the aesthetic object of the literary narrative. Thus, I will conclude by showing how this account does not fall prey to the conflation that both critics and supporters of SKT commit in muddling the different types of knowledge available from and in relation to a literary narrative.Before I proceed, it is important that some basic concepts are clearly set forth. A narrative can be defined as any representation of two or more events over time. The number of events and the relationship among them can be as simple or complex as one likes, but the crucial aspect is that the representation supplies the...

This essential new text is designed for courses in contemporary moral issues, applied ethics, and leadership. Emphasizing personal choice in the study of ethics, the authors take the reader on a journey of self-discovery rather than a mere academic survey of the field of ethics.A Practical Guide to Ethics: Living and Leading with Integrity helps students develop their skills in ethical decision-making and put those decisions into effective practice. Its unique focus on leadership, especially the moral dimensions of understanding one's own values, teaches students to understand and, through dialog and negotiation, communicate their own beliefs as a step to building coalitions with those who may hold different views. It is also distinctive in combining ethical theory with both multicultural ethics and a practical orientation to moral decision-making and leadership.

There are few contemporary thinkers in the tradition of American pragmatism as prolific or as creative as Richard Shusterman. His thought and work range from analytic aesthetics to political philosophy, from ethics to the importance of bodily habits in modern society. The volume edited by Dorota Koczanowicz and Wojciech Malecki highlights the remarkable international reception of Shusterman’s ideas. The majority of the contributors to this volume are Polish academics, a fact that stems from its origin in a 2008 conference in Poland on Shusterman’s work. A few additional essays were solicited from scholars in the United States and other parts of Europe to round out the diversity of this collection’s offerings. ..

In lieu of an abstract, here is a brief excerpt of the content:John Dewey and the Question of Artful CommunicationScott R. StroudThe American pragmatist John Dewey included tantalizing sections of praise of the power of communication in his important work on community, experience, and their improvement, noting in 1925 that "of all aff airs, communication is the most wonderful" (1988a, LW 1:132) and in 1927 that communication plays an important part in the individual's attempt "to learn to become human" (1984, LW 2:332).1 Some in the field of communication have sensed the important, but undeveloped, role that communication plays in his thought and have attempted to use Dewey's work in analyzing rhetorical practice, cultural studies, and the role of journalism in society.2 While such studies strive to clarify the value and process of communication in Dewey's thought, they fall short of explaining one seemingly simple thing that is implied in these passages—that communication can be experienced as aesthetic or artful. Nathan Crick identifies such a lacuna in the literature and notes that "beyond its utility as an argument against elite forms of academic criticism, the value of Dewey's aesthetic theory for communication studies remained underdeveloped" (2004, 303). Although he does an admirable job of tracing the relation of aesthetics to communication in Dewey's evolving thought, Crick comes no closer than others in answering the fundamental question of how communication can be artful or aesthetic—he merely argues for the general point that " communication, [End Page 153] whether it occurs in an oration, a conversation, or a television, is best understood as a form of art that has the potential to bring about aesthetic experience in its participants and open their eyes to the world of possibility embodied within each of us" (2004, 314). How exactly does this aesthetization of communication occur? Crick ends his article with the interesting claim that "in its aesthetic form communication becomes rhetorical. It turns communication into an art whose goal is a presentation that unites form and rhythm in a manner that can reach down into the experiences of the audience and literally transform them into something new" (2004, 317). How exactly does communication meet such standards? Does such a "high" art of communication as rhetoric fit everyday communication, the vast majority of human communicative practices?3 Although Crick's study is an important inquiry into the overall role of communication in Dewey's aesthetics, it still leaves open the fundamental question—How exactly can any given act of communication (beyond the eloquent and poetic oration) be rendered aesthetic or artful?This question was vitally important for Dewey, as he places artistic and aesthetic aspects of communicative practice at the very heart of his social and political philosophy. In describing the "Great Community," he announces that it will take place when two conditions hold: "The highest and most difficult kind of inquiry and a subtle, delicate, vivid and responsive art of communication must take possession of the physical machinery of transmission and circulation and breathe life into it.... Democracy will come into its own, for democracy is a name for a life of free and enriching communion.... It will have its consummation when free social inquiry is indissolubly wedded to the art of full and moving communication" (1984, LW 2:350). This is a vital passage for understanding Dewey's aims, as it clearly links a scientific method of thinking (his preferred method of "inquiry") with a form of communication that can be taken as an art.Yet scholars of communication systematically miss this part of the Deweyan equation. For instance, take Lary Belman's early study of Dewey's view of communication. He concludes by analyzing this same passage from Dewey on the two conditions of the Great Community and states, "The basic conditions for the creation of a Great Community... were, Dewey postulated, the presence of (a) vigorous, systematic, and continuous social inquiry to reveal the influential agencies at work in society and their mode of operation, and (b) widespread and rapid distribution of the findings of this inquiry in a form readily understood by those for whom these findings [End Page 154] have significance" (1977, 36–37). It is remarkable that the...

ABSTRACT This article argues that we should take the philosophical thought of Bhimrao Ambedkar, the Indian politician and advocate for “untouchable” rights, seriously as part of the pragmatist tradition. Doing so will reveal the international impact of pragmatist thought and will contribute to current concerns over how citizens should communicate and pursue advocacy in pluralistic societies. As a student of Dewey's, Ambedkar took pragmatist ideas of democracy and integrated them into his reading of Buddhism. His reconstruction of nonviolence as love of one's friends and enemies leaves him open to criticisms from those favoring revolutionary means to achieve social justice. The final section considers criticisms stemming from insurrectionist ethics and argues that Ambedkar operates as an important emancipatory counter to this position. Ambedkar's pragmatism holds back from violent means, as they tend to destroy too many people and valued ends that one needs for an ideal democratic community.

ABSTRACT The article examines the ethical choices that are implicit in acts of memorialization. By engaging literature on the rhetoric of memorials and pragmatist aesthetics, we argue that memorialization involves a range of important ethical choices in who is remembered, how they are remembered, and the experience the act of memorialization evokes in viewers. By using John Dewey's nascent account of memorial aesthetics, we construct an exploratory typology of the ways that memorials can use and evoke the experience of viewers. The means of experiential reconstruction are also found to involve important ethical decisions. We explore the usefulness of this typology in reference to two different memorials: Ambedkar Memorial Park in Lucknow, India, and the Memorial for the Unknown War Deserters and for the Victims of the National Socialist Military Justice System in Erfurt, Germany.

The American pragmatist John Dewey was no stranger to the problems of economics and their effects on the quality of work experience. Indeed, in his Democracy and Education (1916/1985), he remarks that “the greatest evil of the present regime is not found in poverty and in the suffering which it entails, but in the fact that so many persons have callings which make no appeal to them, which are pursued simply for the money reward that accrues” (MW 9:326–27). This was not a uniquely American problem, as he continued to discuss the “problem of labor” in his lectures in China from 1919 to 1921. There his analysis of education and what it has to contribute to capitalistic economies takes on a more comparative shade ..

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 37.1 (2004) 42-71 [Access article in PDF] Narrative as Argument in Indian Philosophy: The Astavakra Gita as Multivalent Narrative Scott R. Stroud Department of Philosophy Temple University Indian philosophy has often been described as radically different in nature than Western philosophy due to its frequent use of narrative structure. By employing poetic elements in their use of language, such texts attempt to convey deep metaphysical truths and philosophical positions about reality that are in many cases quite different from Western ideas (Babbili 1997). Often, these ways of conveying truths are an integral part of that truth. One particularly useful form is narrative, taking instantiations such as a dialogue between characters. Philosophical dialogues such as the Bhagavad Gita and the Astavakra Gita (also known as the Astavakra Samhita ) use a portrayed conversation involving a guru or deity to convey didactic lessons and values to the receptive audience, both ancient and modern. As texts such as the Bhagavad Gita gain in popularity and circulation in the Western world (Minor 1982; Paine 1998; Sharpe 1985), philosophical and rhetorical inquiry must be extended to explain how these texts function in an argumentative philosophical context.Stroud (2002a, 2002b) has advanced the idea that such ancient Indian narratives argue through the use of contradictions and conflicting value structures;1 he labels such texts as multivalent narratives since their use of contradictory value structures compel audience members to reconstruct the narrative's message and allow for the acceptance of novel views. Multivalent narratives are to be distinguished from polysemic narratives (Fiske 1986) in that the latter concern different audience members finding a preferred position from the ambiguous story. Polysemic narratives involve the difference in meaning of the same story to different auditors. Condit criticizes this notion of polysemic narratives and advances her own concept of polyvalent narratives. The concept of a polyvalent narrative involves different auditors understanding the same story in similar ways, but differing in how they evaluate its message. Condit's research with a popular television [End Page 42] show and two students from radically different backgrounds on abortion finds that they understood what occurred in a very similar fashion; they differed in that they "disagree[d] about the valuation of those denotations to such a degree that they produce[d] noticeably different interpretations" (1989, 106). Thus, the auditors differ as to their response to a certain story and how it treats their own cherished values. Stroud (2002a) provides a thorough justification as to why the concepts of polysemic and polyvalent narratives do not capture what can be called multivalent narratives. The important factor in distinguishing these three concepts is that the third involves contradictions at the level of values within a text and the reader's necessitated activity of trying to synthesize or reconcile such contradictions. It is this activity that is the hallmark of multivalent narratives.This employment of multivalent narrative offers a challenge to familiar Western conceptions of argumentative discourse and demands further investigation. This study explores the ways a particular text, the Astavakra Gita, argues its philosophical positions to its audience of potential "pupils."2 Using the insights provided by theories of narrative and reader-response theory, I will argue that this text advances its claims not through overt syllogism or validity claim redemption, but through textual indeterminacy between the audience's disposition and the foregrounded theme of non-individuation in the text. This tension, increased by certain textual devices, results in consistency building by the audience, which enables the transcendence of these two viewpoints (reader and text); it is this experience, not claim, that the Astavakra Gita seems to be advancing to any given audience.In order to explore this interpretation of this text and its argumentative relationship to an audience, insights from both literary studies and rhetorical theory must be used in laying a foundation. The work of Wolfgang Iser (1980, 1989, 1993) and Walter Fisher (1987) will assume roles of particular importance in this endeavor. Iser's theory of aesthetic response provides a useful description of the phenomenological process of reading such a...

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that areaimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism’s use of the koan, an aesthetic object that can be seen as evoking a given experience from its auditors for the purpose of reaching understanding on a point that the teacher wishes to make. I argue that such a reading of art as evocative can be merged with hypothetical intentionalism insofar as it recognizes a certain orientation on the part of the auditor to approach art in a certain way. In the case of koans and other artworks, the approach is one of considering what claim an author may want to convey through the auditor’s experience of the artwork

ABSTRACT Democracy proposes the impossible: that each citizen makes community with those they consider opponents or foes. In the increasingly embittered partisan environment animating so many democracies, this paradoxical demand justifies more attention. This article explores the challenges of democracy among polarized and divided groups by engaging the political theory of Bhimrao Ambedkar’s Navayana pragmatism. Ambedkar, an Indian political figure and thinker who felt the crushing oppression of caste discrimination, reshapes the pragmatism of John Dewey to better encapsulate the importance of overcoming divisions and injustices while forging a community of shared interests. Using Ambedkar’s merging of the values of liberty, equality, and fraternity into a pragmatist vision of democracy as a habit or way of life, this article demonstrates that justice can be usefully taken as a balancing of values among agreeing and disagreeing citizens. This also leads to a recognition of the tragedy of democracy, or the fact that attending to the end and means of fraternity places limits on what one group can do to their opponents in the pursuit of freedom or equality.

The relationship between William James and the stoics remains an enigma. He was clearly influenced by reading Marcus Aurelius and Epictetus throughout his career. Some work has been done on the thematic convergences between Jamesian pragmatism and stoic thought, but this study takes a different path. I argue that the rhetorical style that James uses in arguing for his moral claims in front of popular audiences can be better understood if we see it in light of the stoic style of argumentation. I look at a text James read closely and recommended to close acquaintances—Marcus Aurelius's Meditations—to extract a sense of stoic rhetorical style. James's use of the stoic's tactics of vivid examples and rhetorical questions to shape the rhetorical experience of his audience and to thereby make his points becomes understandable as a possible extension of the stoic style of persuasion.

This essay will argue that this position advanced by Shusterman rests ultimately on a misconception of Gadamer's notion of interpretation, and as such, is not a strong challenge to Gadamer's insights concerning the process of human understanding. Shusterman's emphasis on understanding being pre-reflective and interpretation being conscious disavows Gadamer's analysis that they are identical in so far as they both refer to an individual's situatedness in tradition and its concurrent impacts on the production of meaning. In order to demonstrate how this is so, this essay will first examine some of Shusterman's; key arguments and conceptualizations in regard to the "hermeneutic universalism" espoused by individuals such as Gadamer. The ways that the Gadamerian notion of understanding can be maintained in light of Shusterman's critique will be illustrated. In all, Gadamer's notion of understanding will be shown to highlight the role of the traditional "prejudices" always given to the subject that inform his or her acts of understanding; this "substratum" to any act of understanding/interpretation will in turn be seen to facilitate the acts of understanding Shusterman points to as counterexamples

American democracy, while no stranger to internal conflict, has seemingly reached a boiling point regarding political partisanship. Things have gotten so bad that parties rarely talk to each other on important issues, and shutting down the government over ideological disagreements has become a more or less accepted move. Tom Allen, a former U.S. representative from Maine, paints this provocative picture of how the warring political parties in the U.S. government see each other: “Democrats see Republicans as inattentive to evidence and expertise, unconcerned about Americans struggling to get by, and reflexively opposed to government action to deal with our collective challenges. On the other hand, Republicans see..