The Dao of Rhetoric (Suny Series in Communication Studies)
Steven C. Combs
Language: English
Pages: 178
ISBN: 079146282X
Format: PDF / Kindle (mobi) / ePub
In the first book to systematically deal with Daoism (Taoism) from a rhetorical perspective, author Steven C. Combs advances the idea that the works of Daoist (Taoist) sages Laozi (Lao Tzu), Zhuangzi (Chuang Tzu), and Sunzi (Sun Tzu) can be fused into a coherent rhetorical genre, which can then form a methodology for rhetorical criticism. This notion of Daoist rhetoric enables critics to examine discourse from new vantage points with novel processes and concepts that honor the creativity and complexity of human communication. Combs also critically examines four contemporary films The Tao of Steve, A Bug s Life, Antz, and Shrek to amplify rhetorical Daoism, to indicate clear differences between Western and Daoist values, and to offer fresh perspectives on individuals and social action. The book argues that Daoism provides a lens for viewing limitations of current Western rhetorical theorizing, positioning Daoist rhetoric as a potent critical perspective in the contemporary, postmodern world."
harmonizes everything. Thus, “to live by the Tao is to function like the Tao, to conform with that marvelously effortless way of getting all things done, and to produce what is of use to others as the Tao produces beneficial rains and dews with never a thought of praise or thanks, still less reward” (Blofeld, 1985, p. 44). In other words, one must release oneself from an effortful life “by engaging in the activities which are actionless” (Parrinder, 1983, p. 333). The man is the Dao because his
assigned roles in society as disciplinarians (or scarers), and love, tenderness, and humor are much better ways to parent than fear. The film was an urging to break through stereotypical roles for fathers and create sensitivity for these expanded roles in the workplace. The extrinsic factors that needed to be considered included parenting roles in contemporary society, approaches to child discipline, and gender bias toward fathers in the workplace. Monsters Inc. works as an example of both
replies Shrek. “Now come on!” “But this isn’t right!” protests Fiona. “You were meant to charge in, sword drawn, banner flying. That’s what all the other 122 ᪑ THE DAO OF RHETORIC knights did.” “Yeah,” notes Shrek wryly, “right before they burst into flame.” “What kind of knight are you?” asks Fiona. Shrek replies, “One of a kind.” Shrek takes the path of least resistance. He is aware that the goal is not to display bravery but to rescue the Princess. By not battling the dragon he avoids the
he and Donkey first approach the castle gate Donkey asks “So where is this fire-breathing pain in the neck anyway?” “Inside,” says Shrek, “waiting for us to rescue her.” “I was talking about the dragon Shrek.” Once rescued, Fiona insists on knowing the identity of her rescuer. “The battle is won. You may remove your helmet, good Sir Knight.” Shrek is reluctant to reveal himself, but Fiona persists and he finally relents. It is obvious from Fiona’s face that she is disappointed. Instead of the
he and Donkey first approach the castle gate Donkey asks “So where is this fire-breathing pain in the neck anyway?” “Inside,” says Shrek, “waiting for us to rescue her.” “I was talking about the dragon Shrek.” Once rescued, Fiona insists on knowing the identity of her rescuer. “The battle is won. You may remove your helmet, good Sir Knight.” Shrek is reluctant to reveal himself, but Fiona persists and he finally relents. It is obvious from Fiona’s face that she is disappointed. Instead of the