Talk is of central importance to politics of almost every kind—it’s no accident that when the ancient Greeks first attempted to examine politics systematically, they developed the study of rhetoric. In Tropes of Politics, John Nelson applies rhetorical analysis first to political theory, and then to politics in practice. He offers a full and deep critical examination of political science and political theory as fields of study, and then undertakes a series of creative examinations of political rhetoric, including a deconstruction of deliberation and debate by the U.S. Senate prior to the Gulf War. Using the neglected arts of argument refined by the rhetoric of inquiry, Nelson traces how everyday words like consent and debate construct politics in much the same way that poets such as Mamet and Shakespeare construct plays, and he shows how we are remaking our politics even as we speak. Tropes of Politics explores how politicians take stands and political scientists probe representation, how experts become informed even as citizens become authorities, how students actually reinvent government while professors merely model politics, how senators wage war yet keep comity among themselves. The action, Nelson shows, is in the tropes: these figures of speech and images of deed can persuade us to turn from ideologies like liberalism toward spectacles about democracy or movements into environmentalism and feminism. His argument is that inventive attention to tropes can mean better participation in politics. And the argument is in the tropes—evidence itself as sights or citations, governments as machines or men, politics as hardball or softball, deliberations as freedoms or constraints, borders as fringes or friends.

Talk is of central importance to politics of almost every kind—it’s no accident that when the ancient Greeks first attempted to examine politics systematically, they developed the study of rhetoric. In Tropes of Politics, John Nelson applies rhetorical analysis first to political theory, and then to politics in practice. He offers a full and deep critical examination of political science and political theory as fields of study, and then undertakes a series of creative examinations of political rhetoric, including a deconstruction of deliberation and debate by the U.S. Senate prior to the Gulf War. Using the neglected arts of argument refined by the rhetoric of inquiry, Nelson traces how everyday words like consent and debate construct politics in much the same way that poets such as Mamet and Shakespeare construct plays, and he shows how we are remaking our politics even as we speak. Tropes of Politics explores how politicians take stands and political scientists probe representation, how experts become informed even as citizens become authorities, how students actually reinvent government while professors merely model politics, how senators wage war yet keep comity among themselves. The action, Nelson shows, is in the tropes: these figures of speech and images of deed can persuade us to turn from ideologies like liberalism toward spectacles about democracy or movements into environmentalism and feminism. His argument is that inventive attention to tropes can mean better participation in politics. And the argument is in the tropes—evidence itself as sights or citations, governments as machines or men, politics as hardball or softball, deliberations as freedoms or constraints, borders as fringes or friends.

'In case you had not noticed,' writes Adam Thirlwell in his first novel, Politics, 'in this book I am not interested in anything so small as the history of the USSR. I am not writing anything so limited.' In this epic miniature, therefore, Politics tells the story of three kids in their twenties falling in love with each in London. And, simultaneously, it tells other, smaller stories: of Stalin on the phone, Mao in the bathroom, Osip Mandelstam in another bathroom, Adolf Hitler on all fours, and Milan Kundera in an argument. Politics is not (quite) about politics.

Opening with an overview of the renewal of interest in rhetoric for inquiries of all kinds, this volume addresses rhetoric in individual disciplines - mathematics, anthropology, psychology, economics, sociology, political science and history. Drawing from recent literary theory, it suggests the contribution of the humanities to the rhetoric of inquiry and explores communications beyond the academy, particulary in women's issues, religion and law. The final essays speak from the field of communication studies, where the study of rhetoric usually makes its home.

This collection of state-of-the-art essays explores conspiracy cultures in post-socialist Eastern Europe, ranging from the nineteenth century to contemporary manifestations. Conspiracy theories about Freemasons, Communists and Jews, about the Chernobyl disaster, and about George Soros and the globalist elite have been particularly influential in Eastern Europe, but they have also been among the most prominent worldwide. This volume explores such conspiracy theories in the context of local Eastern European histories and discourses. The chapters identify four major factors that have influenced cultures of conspiracy in Eastern Europe: nationalism (including ethnocentrism and antisemitism), the socialist past, the transition period, and globalization. The research focuses on the impact of imperial legacies, nation-building, and the Cold War in the creation of conspiracy theories in Eastern Europe; the effects of the fall of the Iron Curtain and conspiracism in a new democratic setting; and manifestations of viral conspiracy theories in contemporary Eastern Europe and their worldwide circulation with the global rise of populism. Bringing together a diverse landscape of Eastern European conspiracism that is a result of repeated exchange with the "West," the book includes case studies that examine the history, legacy, and impact of conspiracy cultures of Bulgaria, Estonia, Hungary, Moldova, Poland, Romania, Russia, Slovakia, Ukraine, the former Yugoslav countries, and the former Soviet Union. The book will appeal to scholars and students of conspiracy theories, as well as those in the areas of political science, area studies, media studies, cultural studies, psychology, philosophy, and history, among others. Politicians, educators, and journalists will find this book a useful resource in countering disinformation in and about the region.

The most original expression of the English literature of the Renaissance is, without a doubt, its dramatic production. Up to 1616, including Shakespeare, English dramatists presented a complex array of plays that are often hard to classify. In this study, by focusing on tropes and rhetoric, new windows of interpretation are opened; some of the plays had been neglected by critics.

This collection constitutes the first volume in Rodopi’s Neo-Victorian Series, which explores the prevalent but often problematic re-vision of the long nineteenth century in contemporary culture. Here is presented for the first time an extended analysis of the conjunction of neo-Victorian fiction and trauma discourse, highlighting the significant interventions in collective memory staged by the belated aesthetic working-through of historical catastrophes, as well as their lingering traces in the present. The neo-Victorian’s privileging of marginalised voices and its contestation of master-narratives of historical progress construct a patchwork of competing but equally legitimate versions of the past, highlighting on-going crises of existential extremity, truth and meaning, nationhood and subjectivity. This volume will be of interest to both researchers and students of the growing field of neo-Victorian studies, as well as scholars in memory studies, trauma theory, ethics, and heritage studies. It interrogates the ideological processes of commemoration and forgetting and queries how the suffering of cultural and temporal others should best be represented, so as to resist the temptations of exploitative appropriation and voyeuristic spectacle. Such precarious negotiations foreground a central paradox: the ethical imperative to bear after-witness to history’s silenced victims in the face of the potential unrepresentability of extreme suffering.