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This book examines the question of what we mean when we talk about life, revealing new insights into what life is, what it does, and why it matters. Jenell Johnson studies arguments on behalf of life--not just of the human or animal variety, but all life. She considers, for example, the Standing Rock Sioux tribe's fight for water, deep ecologists' Earth First! activism, the Voluntary Human Extinction Movement, and astrophysicists' positions on Martian microbes. What she reveals is that this advocacy--vital advocacy--expands our view of what counts as life and shows us what it would mean for the moral standing of human life to be extended to life itself.Including short interviews with celebrated ecological writer Dorion Sagan, former NASA Planetary Protection Officer Catharine Conley, and leading figure in Indigenous and environmental studies Kyle Whyte, Every Living Thing provides a capacious view of life in the natural world. This book is a must-read for anyone interested in biodiversity, bioethics, and the environment.

Earth First activism. --- Kenneth Burke. --- Life. --- Martian microbes. --- Standing Rock Sioux tribe. --- Voluntary Human Extinction Movement. --- biocentrism. --- biopolitics. --- ecocriticsm. --- ecofascism. --- environmental activism. --- environmental advocacy. --- environmental ethics. --- rhetoric. --- vitalism.

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The relationship between an author's and an audience's intentions is complex but need not preclude mutual engagement. This philosophical investigation challenges existing literary and rhetorical perspectives on intention and offers a new framework for understanding the negotiation of meaning. It describes how an audience's intentions affect their interpretations, shows how audiences negotiate meaning when faced with a writer's undecipherable intentions, and defines the scope of understanding within rhetorical situations.Introducing a concept of intention into literary analysis that supersedes existing rhetorical theory, Arabella Lyon shows how the rhetorics of I. A. Richards, Wayne Booth, and Stanley Fish, as well as the hermeneutics of Hans-Georg Gadamer, fail to account for the complex interactions of author and audience. Using Kenneth Burke's concepts of form, motive, and purpose, she builds a more complex notion of intention than those usually found in literary studies, then employs her theory to describe how philosophers read Wittgenstein's narratives, metaphors, and reversals in argument.Lyon argues that our differences in intention prevent consistency in interpretations but do not stop our discussions, deliberations, and actions. She seeks to acknowledge difference and the communicative problems it creates while demonstrating that difference is normal and does not end our engagement with each other.Intentions combines recent work in philosophy, literary criticism, hermeneutics, and rhetoric in a highly imaginative way to construct a theory of intention for a postmodern rhetoric. It recovers and renovates central concepts in rhetorical theory—not only intention but also deliberation, politics, and judgment.

Literature --- History and criticism --- Theory, etc. --- 0-271-02504-2. --- Arabella Lyon. --- Hans Georg Gadamer. --- I. A. Richards. --- Kenneth Burke. --- Literature and Philosophy. --- Stanley Fish. --- Wayne Booth. --- Wittgenstein. --- actions. --- argument. --- audience. --- author. --- deliberation. --- deliberations. --- difference. --- discussions. --- form. --- hermeneutics. --- interpretations. --- judgment. --- literary studies. --- meaning. --- metaphors. --- motive. --- mutual engagement. --- narratives. --- philosophers. --- politics. --- purpose. --- reversals. --- rhetoric.

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Everyone talks about style, but no one explains it. The authors of this book do; and in doing so, they provoke the reader to consider style, not as an elegant accessory of effective prose, but as its very heart.At a time when writing skills have virtually disappeared, what can be done? If only people learned the principles of verbal correctness, the essential rules, wouldn't good prose simply fall into place? Thomas and Turner say no. Attending to rules of grammar, sense, and sentence structure will no more lead to effective prose than knowing the mechanics of a golf swing will lead to a hole-in-one. Furthermore, ten-step programs to better writing exacerbate the problem by failing to recognize, as Thomas and Turner point out, that there are many styles with different standards.In the first half of Clear and Simple, the authors introduce a range of styles--reflexive, practical, plain, contemplative, romantic, prophetic, and others--contrasting them to classic style. Its principles are simple: The writer adopts the pose that the motive is truth, the purpose is presentation, the reader is an intellectual equal, and the occasion is informal. Classic style is at home in everything from business memos to personal letters, from magazine articles to university writing.The second half of the book is a tour of examples--the exquisite and the execrable--showing what has worked and what hasn't. Classic prose is found everywhere: from Thomas Jefferson to Junichirō Tanizaki, from Mark Twain to the observations of an undergraduate. Here are many fine performances in classic style, each clear and simple as the truth.Originally published in 1994.The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Report writing. --- English language --- English language --- Style. --- Rhetoric. --- Abstraction. --- Accessibility. --- Active voice. --- Allegory. --- Antithesis. --- Approximation. --- Areopagitica. --- Classical language. --- Colloquialism. --- Concept. --- Conflation. --- Creative nonfiction. --- Deed. --- Distraction. --- Divine providence. --- Elizabeth Eisenstein. --- Empiricism. --- Erudition. --- Essay. --- Etiquette. --- Family resemblance. --- Figure of speech. --- Fine art. --- Formality. --- Greatness. --- Handbook. --- Heuristic. --- Hilary Putnam. --- Humility. --- Ideogram. --- Image schema. --- Inception. --- Informality. --- Ingenuity. --- Introspection. --- Invention. --- Irony. --- James Thurber. --- Julian Barnes. --- Kenneth Burke. --- Lady Catherine de Bourgh. --- Lettres provinciales. --- Level of detail. --- Linguistic competence. --- Mark Twain. --- Metonymy. --- Mr. --- Narrative. --- New Thought. --- Obfuscation. --- On Truth. --- Optimism. --- Oracle. --- Parody. --- Peor. --- Persuasive writing. --- Philosopher. --- Philosophy. --- Phrase. --- Piety. --- Plain English. --- Platitude. --- Prima facie. --- Printing. --- Prose. --- Provenance. --- Reasonable person. --- Religion. --- Result. --- Rhetoric. --- Righteousness. --- Romanticism. --- Science. --- Self-interest. --- Selfishness. --- Sentimentality. --- Silliness. --- Simile. --- Sincerity. --- Sir Thomas Elyot. --- Skepticism. --- Sophistication. --- Special pleading. --- Spoken language. --- Standard English. --- Subtitle (captioning). --- Suggestion. --- Superiority (short story). --- The Elements of Style. --- The Other Hand. --- Theorem. --- Thought. --- Thucydides. --- Treatise. --- Understanding. --- Understatement. --- Verbosity. --- White's. --- Writing style. --- Writing.