The ethos of drama: rhetorical theory and dramatic worth

Acknowledgments

ix Ack no w l e d gm e n t s Five summer awards from the National Endowment for the Humanities gave me opportunities for research and collegial discussions of my work. Matching one of its challenge grants, the Elms College joined with the NEH to create a fund for development of humanities faculty at the college. The Elms also provided academic leaves for me to complete this book. I am happy to acknowledge my debt to both institutions and to the enlightened people behind them. I am grateful to the editors of the Massachusetts Review and the North American Review for commissioning my series of theatre articles. At the Massachusetts Review, Paul Jenkins of Hampshire College was sponsor, critic, and supportive friend. At the North American Review, Robley Wilson, followed by Vince Gotera and Grant Tracey, gave me more lenient treatment than I probably deserved. The editors of the Catholic University of America Press have managed to be professional and personable at the same time; I appreciate their prompt attention to my comments and questions , and in particular, Susan Bond’s meticulous copyediting. The readers for the press, Steve McKenna of the Catholic University of America and Jim Bulman of Allegheny College, gave my manuscript diligent, sensitive review and surely improved it. x   Acknowledgments I regret that Albert Wertheim, late of Indiana University, will not see this book; I am a better student of drama for having known him. I am further indebted to Jim Bulman for his advocacy and friendship over many years. So, too, my brother Tom, now beyond this place but always a presence. My deepest debts are in the dedication. Portions of this book were previously published as follows and are reprinted here with permission. Much of chapter 1 appeared as “Dramatic Worth: Rhetorical Ethos and Dramatic Theory ,” Journal of Theatre and Drama, vol. 5/6 (1999–2000), 197–214. Part of chapter 2 appeared as “Syntax and Ethos in English Style,” Language and Style, vol. 24 (1991), 503–16. Parts of chapter 3 appeared as “Res et Verba: The Reform of Language in Dryden’s All for Love,” ELH, vol. 54 (1987), 45–46; and “Language and Values in David Hare,” in David Hare: A Casebook, edited by Hersch Zeifman (New York: Garland Press, 1984), 69–87. Part of chapter 4 appeared as “The Play of Uncertain Ideas,” Massachusetts Review , vol. XLII, no. 2 (2001), 165–75. Part of chapter 6 appeared as “TheRhetoricofDramaticTechniqueinBloodKnot,”SouthAfrican Theatre Journal, vol. 7 (1993), 40–49. Part of chapter 7 appeared as “Psychic Numbing and Grumberg’s L’Atelier,” Massachusetts Review , vol. XXVI (1985), 580–94. The Ethos of Drama V ...