Scott R. Stroud

ABSTRACT What are the obstacles to believing that narratives can argue? How can we be assured that narratives argue well? This article will explore major objections to accounts of narrative argument and literary truth, and explore a theory of narrative reasoning that emphasizes identification as a vital part of argument. In exploring the account of narrative offered by Walter Fisher in light of concerns with narrative in rhetorical studies and philosophy, I explicate a renewed sense of identification and narrative reasoning that can meet many of these objections to giving narrative a role in human communication and argument. Of particular interest are the resources available in narratives for active identification by an auditor or reader as good reasons for action or belief in their own extratextual activities.

This study explores the pragmatist thought of the Indian politician and “untouchable” rights activity, Bhimrao Ambedkar. Ambedkar’s connection to the pragmatist tradition through John Dewey is discussed, as well as the various lines of influence that Dewey had upon his work once back in India. Beyond this general appraisal, this chapter exhaustively charts the echoes of Dewey’s words, phrases, and ideas in Ambedkar’s vital “Annihilation of Caste” text, showing that pragmatism influence his as both a source of ideas as well as a method of rhetorical practice. Ambedkar’s pragmatist appropriations lead to his grafting of Deweyan ideas of democracy onto his battle against Indian caste oppression, as well as general reconstructive rhetorical method.

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.

Bhimrao Ambedkar is well known as the architect of independent India’s constitution, the document that created the world’s largest democracy on January 26, 1950. Ambedkar is also famous for his vigorous advocacy on behalf of India’s so-called “untouchables,” those groups of people that reside beneath and outside of the ancient system of hereditary castes in Hinduism. His activism and political efforts secured rights and respect for millions of lower-caste Indians before his death in 1956. Even though Ambedkar was an untouchable, forbidden from learning the ancient language of Sanskrit, he managed to learn English in his early education...

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 (ahimsa) 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.

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...

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 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...

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.

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.

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 lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Pragmatism, Democracy, and the Necessity of RhetoricScott R. StroudPragmatism, Democracy, and the Necessity of Rhetoric by Robert Danisch Columbia: University of South Carolina Press, 2007. Pp. xii + 190. $39.95, cloth.The classical pragmatists are an infuriating bunch for those in rhetorical studies. For instance, the commitment of William James and John Dewey to uncertainty and change in politics and epistemology stands to position them with those studying rhetoric as a necessary tool in the uncertain situation that humans find themselves in—be it in nature or in society. But the pragmatists steadfastly avoid engaging (or even using) the concepts of rhetorical theory or practice. Even the commentary of James and Dewey on "communication" is vague and often perfunctory. Thus, contemporary rhetorical scholars find themselves at an impasse—Do they talk about the pragmatists, even though the pragmatists do not engage the rhetorical tradition in a sustained fashion, or do they simply ignore this important and fairly original strain of American thought (perhaps in favor of European lines of philosophical thought)? I believe that the more interesting choice is to pursue the former option and to engage the pragmatists in terms of what they have to offer communication studies and the study of rhetoric. This, of course, will necessitate acknowledging their compatibility and relative lack of engagement with the rhetorical tradition. The rewards of such a constructive engagement, however, could be great for the study of communication and rhetoric.This is the path that Robert Danisch's recent book, Pragmatism, Democracy, and the Necessity of Rhetoric, sets out to traverse. The stated project [End Page 96] of this work is to show the compatibility of the classical rhetorical tradition and the pragmatist tradition. Beyond this, Danisch attempts to show that rhetoric is essential to the pragmatist project and that a variety of rhetorics can be identified in the actual work or practices of important American pragmatists. As he clearly puts it in his concluding chapter, "This is precisely the purpose of pragmatism—it was designed as a philosophy that would ultimately extend beyond itself to invent tools, techniques, ideas, and instruments of change that it alone could not imagine. It is my contention that rhetorics and rhetorical theories are just those tools, techniques, ideas, and instruments" (144). I believe that Danisch goes an admirable distance in making this case and in furthering the still-nascent work that strives to connect rhetoric and pragmatism.Danisch begins his case for connecting rhetoric and pragmatism by addressing the two traditions in general terms. First, he limits his inquiry to classical rhetoric, although his concluding chapter features issues and figures within more recent rhetorical scholarship. This is a defensible strategy, as "rhetoric" is almost as ambiguous and inexact as "pragmatism." What connects both classical rhetoric and pragmatism, according to Danisch's way of setting up the analysis, is that both traditions represent approaches or orientations toward the world and society. Both see the world as fundamentally uncertain, and both see human action as playing a vital role in creating what actually "is" the case, whether it is in terms of scientific knowledge or political institutions. He clarifies this in terms of how rhetoric and pragmatism focus on action—"The question for both pragmatism and rhetoric concerns method. Active human agents employ tools and techniques designed to order and influence human affairs; pragmatism and rhetoric share this concern" (39). Thus, both focus on methods of guiding and directing human action such that it results in the sort of world that we want to instantiate or create. Danisch attempts to explore the connection of these two traditions, and he promises that beyond being possible, it will be rewarding in three ways. First, pragmatism seems to offer the resources and opportunities to develop "rhetorics based on its principles and fit to the problems of contemporary democracy" (15). Second, such an engagement of pragmatism with the concepts of classical rhetoric will reaffirm the importance of these classical concepts in today's circumstances. Third, both pragmatism and rhetoric will be improved, since "philosophies are improved by exploring their relationships to rhetoric, and rhetorics are improved by exploring their intellectual justifications" (15). Some may be uneasy...

In this article, I argue that speech act theory can be altered to accommodate art objects as evocative illocutionary speech acts that are aimed toward reaching understanding. To do this, I discuss the example of Zen Buddhism's use of the kōan, 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 kōans 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 This article explores what the contours of a pragmatist theory of rhetoric would be like in its democratic instantiation. The threat of partisan thought and dogmatism in argument is examined as a threat to the sort of democratic community pragmatists such as John Dewey desired to create. Partisans fail to realize not only their own limitations in pursuing the true and the good but also the fact that solving problems through overly partisan forms of reasoning or argument only creates future obstacles to community life. This provides an extended reading of what Dewey meant by free communication: communication not only free from legal constraints and censorship but also free from the binding habits of thought and interaction that can be identified as “partisan perfect reasoning.”

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..

Philosophers have been quite often portrayed as farcical figures who claim to possess knowledge that is salient to all human beings yet are at the same time completely out of touch with this world, and, for that reason, clumsy, naïve, and basically of no use to anyone, including their own miserable selves. This image is not only quite common—it is also as old as philosophy itself. Just recall the familiar passage from Plato’s Theaetetus that has Thales fall into a well because he is so busy gazing at the stars that he simply fails to pay any attention to the ground he treads on . “How can you expect to know about all the heavens, when you cannot even see what is just beneath your feet?”1—asks a Thracian ..

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

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.