“I am not a donkey,” Max Weber once said, “and I do not have a field.” And yet it is always possible to label Weber as a sociologist without unduly provoking anybody. Things are decidedly more complicated in the case of the American thinker Kenneth Burke (1897-1993). Situating such Burkean treatises as Permanence and Change (1935), A Grammar of Motives (1945), and Language as Symbolic Action (1966) in cultural and intellectual history is a task to test the limits of interdisciplinary research. His theories concerning aesthetics, communications, social order and ecology took shape through dialogue with the work of Aristotle, Marx, Freud, Nietzsche, Bergson, and the American pragmatist philosophers, to make the list as short as possible. (And Weber too, of course.) It’s still hard to improve upon the assessment made by Stanley Edgar Hyman, the literary critic and Bennington College professor, more than 60 years ago: “He has no field, unless it be Burkology.”
The triennial meeting of the Kenneth Burke Society, held at Clemson University over the Memorial Day weekend, drew a diverse crowd, numbering just over one hundred people -- with at least a third, by my estimate, being graduate students or junior faculty. The Burkological elders told tales of the days when incorporating more than a couple of citations from “KB” in a dissertation would get you scolded by an adviser. Clearly things have changed in the meantime. Tables near registration were crowded with secondary literature from the past decade or so, as well as a couple of posthumous collections of KB's work. The program featured papers on the implications of his ideas for composition textbooks, disability studies, jazz, environmental activism, and the headscarf controversy.
There were also Burkean discussions of “Mad Men,” Mein Kampf, and the Westboro Baptist Church. Unfortunately I missed it, but Camille Kaminski Lewis gave a paper based on her continuing analysis of the history and ideology of Bob Jones University, where she once taught. (Her book on the subject did not meet with the institution's approval, a matter she discussed in an essay for the Burke Society's Journal.)
The range of topics would sound bewildering to anyone uninitiated into KB’s work; likewise with the vocabulary he created along the way (“dramatism,” “logology,” “terministic screen,” “socio-anagogic interpretation”). But people attending the conference received commemorative tee-shirts bearing excerpts from KB’s “Definition of Man” -- an essay attempting to reduce his thinking to a succinct formula, devoid of any jargon:
"Man is the symbol-making animal, inventor of the negative, separated from his natural condition by instruments of his own making, moved by the sense of order, and rotten with perfection."
Quit a bit is going on within that nutshell. (The phrase “rotten with perfection,” for example, is Burke’s idiosyncratic take on Aristotle’s idea of entelechy.) But an academic organization devoted to an esoteric thinker who fits comfortably in no particular departmental pigeonhole would seem unlikely to have much potential for growth. On the final day of the conference, David Cratis Williams told me that when the Kenneth Burke Society formed in 1984, he suspected that it would for the most part appeal to people who had known KB personally. And that small circle was bound to shrink over time, as people retired.
Something else has happened instead. There was more to it than a few then-young Burkologists becoming institutionally well-situated – though that no doubt made a huge difference. Williams, for example, is the director of the graduate program in communication and media studies at Florida Atlantic University. (He is also working on a biography of the maverick thinker.) And David Blakesley, who organized the conference at Clemson just a few months after arriving there to assume an endowed chair in English, is also the founder of Parlor Press, a peer-reviewed scholarly publishing house. The name of the press is taken from a passage in which Burke describes the world as a parlor where an unending conversation unfolds.
Having a few well-placed and entrepreneurial Burkeans has certainly helped to consolidate the Society. But I suspect that other factors are involved in the continuing vitality of the KB scholarship. Three things stood out about the conference: the crowd was multigenerational; many of the younger Burkeans have a strong interest in archival research; and the scholarship is now orienting toward digital media, not just to study it but to use it.
These tendencies seem to be mutually reinforcing. Since the early 1990s, Jack Selzer, a professor of English at Pennsylvania State University's main campus, has not only been doing archival research on Burke’s involvement with a number of literary and intellectual circles, but encouraging his students to use the Burke papers at Penn State as well. One of his graduate students was Ann George, now an associate professor of English at Texas Christian University. In 2007, the University of South Carolina Press published Kenneth Burke in the 1930s, which situates its subject in the political and cultural context of the Depression. (While specialized and extremely suggestive to the longtime Burkean, it’s also the book I’d be most likely to recommend to someone new to KB.)
Now students of both Selzer and George are digging around in the 55 linear feet of Burke papers at PSU -- and sometimes taking trips out to the farmhouse in New Jersey where Burke lived and worked, full of still more manuscripts as well as KB’s heavily annotated library. Besides his correspondence with other literary and academic figures, they’re finding unpublished manuscripts and notes showing his concern with economics, music, and other areas relatively neglected by earlier Burke scholars. One senior figure told me that the influx of graduate students was both encouraging and anxiety-inducing: “I really have to finish the project I’ve been working on because now it’s just a matter of time before one of them beats me to it.”
The value of having digital editions of his writings seems clear -- especially in the case of works that Burke revised from edition to edition. In the meantime, two graduate students are digitizing "Conversations with Kenneth Burke," which consists of eight hours of interview footage with Burke conducted by Clarke Rountree at the University of Iowa in 1986. (He is now a professor of communication arts at the University of Alabama in Huntsville.)
Joel Overall, who is one of Ann George's students at TCU, told me about it. "Our project involves upgrading 8 hours of interview footage from VHS to DVD format,” he said. “In addition to upgrading the graphic design of packaging materials, DVD titles, and credits, we're also working on transcriptions of the interview that will be included through subtitles and a searchable pdf file. This is a particularly valuable contribution since KB was somewhat difficult to understand at the age of 89.“ (The other member of the project, Ethan Sproat, is at Purdue, where he worked with David Blakesley before DB's move to Clemson.)
The DVD will be released by the Society within the next year. “Since [Burke’s] written works are often difficult when first encountered, these interviews allow us to hear his voice and see him in cinematic motion, providing us with extra-textual elements that are crucial to understanding his work.”
Following the conference, David Blakesley pointed out another development in the Burkological world. While he was a polyglot as well as a polymath -- reading and translating work from from French and German, and an ardent student of Latin literature as well -- Burke's reputation has long been almost exclusively confined to the United States. But Belgian and French scholars were at the conference.
“They, too, felt welcome, “ he said, “and are excited about their prospects for future work on Burke. In fact, Ronald Soetart (University of Ghent) wants to organize a European Burke conference now. The French contingent was eager to see that as well since there appears to be a groundswell of interest in Burke throughout Europe. I noticed that when I presented on Burke and visual rhetoric at the International Association of Visual Semiotics in Venice last April, too.”
I attended the conference as a keynote speaker, and also delivered a paper -- and so was sitting there feeling mildly fried when I was invited to participate in another multimedia project. A group of Clemson graduate students in the master of arts in professional communication (MAPC) program were conducting a series of interviews for a video on the field of rhetoric. (That is rhetoric understood as the well-established study of effective communication, rather than in the modern sense of a technique for evading reality.)
Drew Stowe, a second-year student in the program, explained that the project would “show the importance of rhetoric for modern students, in the modern university, and to lay audiences such as parents of prospective students, the board of trustees and other corporate partners who recruit graduates from the MAPC program.” Burke is considered one of the most innovative thinkers in rhetoric since antiquity, so scouting the conference for talking heads made sense.
In front of the camera, I aspired to coherence rather than eloquence. My main point was that KB’s work is a toolbox of ideas useful for analyzing the messages with which everyone is bombarded. As someone who’s read a few of Burke’s books until they’ve worn out -- my hardback copy of the first edition of Philosophy of Literary Form (1941), for example, started falling apart during the conference -- I take his continuing relevance as a given. But where did it come from?
“I've always sensed that KB lived at a particularly interesting cultural moment,” wrote Jack Selzer to me by email, following the conference. “Major wars were changing international affairs fundamentally, new communications technologies were so important, and of course postmodern and post-Nietzschean philosophies (and the linguistic turn) were troubling modernist and rationalist assumptions. Somehow he was brilliant enough to perceive the vitality of these changes even as he was living amidst them, and he was able to theorize and meditate on things so productively -- even though (or because?) he was so close to them. As a consequence, what he has to say remains very contemporary. It was wonderful to see the younger scholars drawn to his work in every way imaginable, and I think it has to do with how shrewd KB was about such important intellectual currents.”
Ann George described teaching Burke in a couple of courses over the past years and finding that students “were struck with, and even a little dispirited by,” the parallels between Burke’s motivating concerns and the present scene. “His political, economic, and environmental insights are remarkable: American exceptionalism and the war in Iraq; 'socialization of losses' via government bailouts, 'rereadings' of the Constitution, Ponzi schemes -- it's all there. Of all the theorists we read in the modern rhetoric course … though, students felt Burke offered more answers -- or more hope -- because he didn't idealize human motives or overestimate how much we might be able to change things for the better. “
That’s a very good point -- and there is a profoundly humanist vision that emerges as the pieces of Burke’s theoretical jigsaw puzzle come together.
He put it best in Attitudes Toward History (1937): "The progress of human enlightenment can go no further than in picturing people not as vicious, but as mistaken.
“When you add that people are necessarily mistaken, that all people are exposed to situations in which they must act as fools, that every insight contains its own special kind of blindness, you complete the comic circle, returning again to the lesson of humility that undergirds great tragedy.” Studying Burke is sometimes difficult, but there are moments when it makes the world seem a little less mad.
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