Rescuing The Subject

When it was first published in 1989, Rescuing the Subject established a landmark pedagogical approach to composition based on the importance of the writer and the act of writing in the history of rhetoric. Widely used as an introduction to rhetoric and composition theory for graduate students, the volume was the first winner of the W. Ross Winterowd Award from JAC and is still one of the most frequently cited books in the field.

This book surveys the history of the discipline of composition, explaining how the contemporary study of writing is related to both written and oral rhetoric-- the ancient and continuing art of discourse. In situating modern composition theory in the historical context of rhetoric, Miller notes that up through the 18th century, rhetoric referred to oral, not written, discourse. Her history of rhetoric, by contrast, is shaped by an awareness that, from the beginning, oral and written discourse were related. Taking a thematic rather than a chronological approach, she shows how "actual acts of writing comment on both rhetoric and composition." Stressing the importance of the writer and the act of writing in the history of rhetoric, Miller proceeds on the assumption that contemporary composition study is the necessary cultural outcome of changing conditions for producing discourse. Miller establishes a foundation for a theoretically informed pedagogy based on a "history that inevitably led to the distinct writing subject, the writer. . Themes in theory, philosophy, and literary criticism point to proposing a new way to rescue this writer, who invites both theoretical recognition and applied help in ways that oral rhetoric does not provide." She rereads the history of rhetoric, describing it not as a story of the attenuation of speaking but of the gradual and unstable relocation of discourse in conventions, and in critical frameworks, that only written language creates. She concludes by describing the specifically American creation of the "student writer," a particular subjectivity whose qualities allow us to understand the condition of all writers, and "author," within contemporary textuality.

In his debut book, "Saving the Subject," Cameron Fathauer paints a spiritual odyssey following his traumatic brain injury with vividness and vulnerability, capturing both the weight of his physical trials and the depth of his reflections. Previously aspiring to be a minister, Fathauer's path was radically altered when he was hit by a car as a pedestrian, steering him to the legal profession and reshaping his identity journey. Beyond the author himself, the narrative features an unexpected array of characters including triplet toddlers, legal scholars, and the infamous "Unabomber." More than a memoir, this remarkably layered work engages the identity question through a smorgasbord of distinct but ingeniously connected themes of trauma, family, and faith. To discover how these elements weave together, you'll have to explore the pages yourself. Fathauer has taken a leap of faith by publishing a book that, quite literally, puts his darkest moments on public display. Yet he does so with the confidence that this open-book vulnerability will illuminate a deeply personal and transformative light for his readers as it has for himself.

Ambition needs to be rescued and put to work for God's glory. This book will encourage and embolden believers to pursue their dreams with a godly ambition that seeks more for God and from God.

"Contributes new perspectives on historical black identity formation and contemporary activism in Cuba."--Choice "Provides invaluable insight into the histories and lives of Cubans who trace their origins to the Anglo-Caribbean."--Robert Whitney, author of State and Revolution in Cuba: Mass Mobilization and Political Change, 1920-1940 "Adds a missing piece to the existing literature about the renewal of black activism in Cuba, all the while showing the links and fractures between pre- and post-1959 society."--Devyn Spence Benson, Davidson College In the early twentieth century, laborers from the British West Indies immigrated to Cuba, attracted by employment opportunities. The Anglo-Caribbean communities flourished, but after 1959, many of their cultural institutions were dismantled: the revolution dictated that in the name of unity there would be no hyphenated Cubans. This book turns an ethnographic lens on their descendants who--during the Special Period in the 1990s--moved to "rescue their roots" by revitalizing their ethnic associations and reestablishing ties outside the island. Based on Andrea J. Queeley's fieldwork in Santiago and Guantánamo, Rescuing Our Roots looks at local and regional identity formations as well as racial politics in revolutionary Cuba. Queeley argues that, as the island experienced a resurgence in racism due in part to the emergence of the dual economy and the reliance on tourism, Anglo-Caribbean Cubans revitalized their communities and sought transnational connections not just in the hope of material support but also to challenge the association between blackness, inferiority, and immorality. Their desire for social mobility, political engagement, and a better economic situation operated alongside the fight for black respectability. Unlike most studies of black Cubans, which focus on Afro-Cuban religion or popular culture, Queeley's penetrating investigation offers a view of strategies and modes of black belonging that transcend ideological, temporal, and spatial boundaries. A volume in the series Contemporary Cuba, edited by John M. Kirk

A Dominican-born academic tells the story of how the Great Books transformed his life—and why they have the power to speak to people of all backgrounds What is the value of a liberal education? Traditionally characterized by a rigorous engagement with the classics of Western thought and literature, this approach to education is all but extinct in American universities, replaced by flexible distribution requirements and ever-narrower academic specialization. Many academics attack the very idea of a Western canon as chauvinistic, while the general public increasingly doubts the value of the humanities. In Rescuing Socrates, Dominican-born American academic Roosevelt Montás tells the story of how a liberal education transformed his life, and offers an intimate account of the relevance of the Great Books today, especially to members of historically marginalized communities. Montás emigrated from the Dominican Republic to Queens, New York, when he was twelve and encountered the Western classics as an undergraduate in Columbia University’s renowned Core Curriculum, one of America’s last remaining Great Books programs. The experience changed his life and determined his career—he went on to earn a PhD in English and comparative literature, serve as director of Columbia’s Center for the Core Curriculum, and start a Great Books program for low-income high school students who aspire to be the first in their families to attend college. Weaving together memoir and literary reflection, Rescuing Socrates describes how four authors—Plato, Augustine, Freud, and Gandhi—had a profound impact on Montás’s life. In doing so, the book drives home what it’s like to experience a liberal education—and why it can still remake lives.

Prasenjit Duara offers the first systematic account of the relationship between the nation-state, nationalism, and the concept of linear history. Focusing primarily on China and including discussion of India, Duara argues that many historians of postcolonial nation-states have adopted a linear, evolutionary history of the Enlightenment/colonial model. As a result, they have written repressive, exclusionary, and incomplete accounts. The backlash against such histories has resulted in a tendency to view the past as largely constructed, imagined, or invented. In this book, Duara offers a way out of the impasse between constructionism and the evolving nation; he redefines history as a series of multiple, often conflicting narratives produced simultaneously at national, local, and transnational levels. In a series of closely linked case studies, he considers such examples as the very different histories produced by Chinese nationalist reformers and partisans of popular religions, the conflicting narratives of statist nationalists and of advocates of federalism in early twentieth-century China. He demonstrates the necessity of incorporating contestation, appropriation, repression, and the return of the repressed subject into any account of the past that will be meaningful to the present. Duara demonstrates how to write histories that resist being pressed into the service of the national subject in its progress—or stalled progress—toward modernity.

In this stimulating work of political philosophy, acclaimed philosopher G. A. Cohen sets out to rescue the egalitarian thesis that in a society in which distributive justice prevails, people’s material prospects are roughly equal. Arguing against the Rawlsian version of a just society, Cohen demonstrates that distributive justice does not tolerate deep inequality. In the course of providing a deep and sophisticated critique of Rawls’s theory of justice, Cohen demonstrates that questions of distributive justice arise not only for the state but also for people in their daily lives. The right rules for the macro scale of public institutions and policies also apply, with suitable adjustments, to the micro level of individual decision-making. Cohen also charges Rawls’s constructivism with systematically conflating the concept of justice with other concepts. Within the Rawlsian architectonic, justice is not distinguished either from other values or from optimal rules of social regulation. The elimination of those conflations brings justice closer to equality.

If it hadn't been for Lucas's photographic memory, they might not have remembered the man. It had been almost a year since she and Kari noticed him copying a famous Rembrandt painting in the Minneapolis Institute of Arts. But now in the National Gallery in London, they spot the same guy, copying another Rembrandt. Then, when a never-before-seen Rembrandt painting is discovered in Amsterdam, the girls begin to suspect the truth. Convinced that no one will believe them without hard and fast evidence, the teenage sleuths embark on a madcap adventure to find the forger and bring him to justice.