Background
Cheryl Glenn was born on September 25, 1950, in Marion, Ohio, United States, to Gene Glenn and Virginia Glenn.
Columbus, Ohio, United States
Ohio State University
Corvallis, Oregon, United States
Oregon State University
Old Main, State College, PA 16801, United States
Pennsylvania State University
1184 W Main St, Decatur, IL 62522, United States
Millikin University
Rhetoric Society of America (Logotype)
(After explaining how and why women have been excluded fro...)
After explaining how and why women have been excluded from the rhetorical tradition from antiquity through the Renaissance, Cheryl Glenn provides the opportunity for Sappho, Aspasia, Diotima, Hortensia, Fulvia, Julian of Norwich, Margery Kempe, Margaret More Roper, Anne Askew, and Elizabeth I to speak with equal authority and as eloquently as Plato, Aristotle, Cicero, and Augustine. Her aim is nothing less than regendering and changing forever the history of rhetoric. To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse―the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men. Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics. After explaining how and why women have been excluded from the rhetorical tradition from antiquity through the Renaissance, Cheryl Glenn provides the opportunity for Sappho, Aspasia, Diotima, Hortensia, Fulvia, Julian of Norwich, Margery Kempe, Margaret More Roper, Anne Askew, and Elizabeth I to speak with equal authority and as eloquently as Plato, Aristotle, Cicero, and Augustine. Her aim is nothing less than regendering and changing forever the history of rhetoric. To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse―the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men. Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics. After explaining how and why women have been excluded from the rhetorical tradition from antiquity through the Renaissance, Cheryl Glenn provides the opportunity for Sappho, Aspasia, Diotima, Hortensia, Fulvia, Julian of Norwich, Margery Kempe, Margaret More Roper, Anne Askew, and Elizabeth I to speak with equal authority and as eloquently as Plato, Aristotle, Cicero, and Augustine. Her aim is nothing less than regendering and changing forever the history of rhetoric. To that end, Glenn locates women’s contributions to and participation in the rhetorical tradition and writes them into an expanded, inclusive tradition. She regenders the tradition by designating those terms of identity that have promoted and supported men’s control of public, persuasive discourse―the culturally constructed social relations between, the appropriate roles for, and the subjective identities of women and men. Glenn is the first scholar to contextualize, analyze, and follow the migration of women’s rhetorical accomplishments systematically. To locate these women, she follows the migration of the Western intellectual tradition from its inception in classical antiquity and its confrontation with and ultimate appropriation by evangelical Christianity to its force in the medieval Church and in Tudor arts and politics.
http://www.amazon.com/gp/product/0809321378/?tag=2022091-20
1997
(Rhetoric and feminism have yet to coalesce into a singula...)
Rhetoric and feminism have yet to coalesce into a singular recognizable field. In this book, author Cheryl Glenn advances the feminist rhetorical project by introducing a new theory of rhetorical feminism. Clarifying how feminist rhetorical practices have given rise to this innovative approach, Rhetorical Feminism and This Thing Called Hope equips the field with tools for a more expansive and productive dialogue. Glenn’s rhetorical feminism offers an alternative to hegemonic rhetorical histories, theories, and practices articulated in Western culture. This alternative theory engages, addresses, and supports feminist rhetorical practices that include openness, authentic dialogue and deliberation, interrogation of the status quo, collaboration, respect, and progress. Rhetorical feminists establish greater representation and inclusivity of everyday rhetors, disidentification with traditional rhetorical practices, and greater appreciation for alternative means of delivery, including silence and listening. These tenets are supported by a cogent reconceptualization of the traditional rhetorical appeals, situating logos alongside dialogue and understanding, ethos alongside experience, and pathos alongside valued emotion. Threaded throughout the book are discussions of the key features of rhetorical feminism that can be used to negotiate cross-boundary mis/understandings, inform rhetorical theories, advance feminist rhetorical research methods and methodologies, and energize feminist practices within the university. Glenn discusses the power of rhetorical feminism when applied in classrooms, the specific ways it inspires and sustains mentoring, and the ways it supports administrators, especially directors of writing programs. Thus, the innovative theory of rhetorical feminism—a theory rich with tactics and potentially broad applications—opens up a new field of research, theory, and practice at the intersection of rhetoric and feminism. Rhetoric and feminism have yet to coalesce into a singular recognizable field. In this book, author Cheryl Glenn advances the feminist rhetorical project by introducing a new theory of rhetorical feminism. Clarifying how feminist rhetorical practices have given rise to this innovative approach, Rhetorical Feminism and This Thing Called Hope equips the field with tools for a more expansive and productive dialogue. Glenn’s rhetorical feminism offers an alternative to hegemonic rhetorical histories, theories, and practices articulated in Western culture. This alternative theory engages, addresses, and supports feminist rhetorical practices that include openness, authentic dialogue and deliberation, interrogation of the status quo, collaboration, respect, and progress. Rhetorical feminists establish greater representation and inclusivity of everyday rhetors, disidentification with traditional rhetorical practices, and greater appreciation for alternative means of delivery, including silence and listening. These tenets are supported by a cogent reconceptualization of the traditional rhetorical appeals, situating logos alongside dialogue and understanding, ethos alongside experience, and pathos alongside valued emotion. Threaded throughout the book are discussions of the key features of rhetorical feminism that can be used to negotiate cross-boundary mis/understandings, inform rhetorical theories, advance feminist rhetorical research methods and methodologies, and energize feminist practices within the university. Glenn discusses the power of rhetorical feminism when applied in classrooms, the specific ways it inspires and sustains mentoring, and the ways it supports administrators, especially directors of writing programs. Thus, the innovative theory of rhetorical feminism—a theory rich with tactics and potentially broad applications—opens up a new field of research, theory, and practice at the intersection of rhetoric and feminism.
http://www.amazon.com/gp/product/0809336944/?tag=2022091-20
(Grab it and go! HARBRACE ESSENTIALS, 3rd Edition answers ...)
Grab it and go! HARBRACE ESSENTIALS, 3rd Edition answers all of your essential writing questions in one easy-to-navigate, easy-to-carry handbook. Inside, you'll find brief yet thorough explanations of important grammar, style, mechanics and punctuation topics. You'll also find model student papers, extensive MLA and APA citation examples and more.
http://www.amazon.com/gp/product/1337556882/?tag=2022091-20
(This guide to teaching writing and to major theoretical i...)
This guide to teaching writing and to major theoretical issues—including current central concerns of rhetoric and composition—contains a brief anthology of scholarly essays and coverage of constructing successful assignments using visual, oral, and electronic texts; teaching multilingual writers; and using technology in the writing classroom. This new edition includes additional practical advice for dealing with classroom issues and helpful guidance for sequencing assignments, teaching revision, using online peer review, and working toward student transference of knowledge and skills. This guide to teaching writing and to major theoretical issues—including current central concerns of rhetoric and composition—contains a brief anthology of scholarly essays and coverage of constructing successful assignments using visual, oral, and electronic texts; teaching multilingual writers; and using technology in the writing classroom. This new edition includes additional practical advice for dealing with classroom issues and helpful guidance for sequencing assignments, teaching revision, using online peer review, and working toward student transference of knowledge and skills.
http://www.amazon.com/gp/product/1457622637/?tag=2022091-20
(In our talkative Western culture, speech is synonymous wi...)
In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself. Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses. Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as “all the President’s women,” including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups―Navajo, Apache, Hopi, and Pueblo―and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power. Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers. In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself. Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses. Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as “all the President’s women,” including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups―Navajo, Apache, Hopi, and Pueblo―and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power. Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers. In our talkative Western culture, speech is synonymous with authority and influence while silence is frequently misheard as passive agreement when it often signifies much more. In her groundbreaking exploration of silence as a significant rhetorical art, Cheryl Glenn articulates the ways in which tactical silence can be as expressive and strategic an instrument of human communication as speech itself. Drawing from linguistics, phenomenology, feminist studies, anthropology, ethnic studies, and literary analysis, Unspoken: A Rhetoric of Silence theorizes both a cartography and grammar of silence. By mapping the range of spaces silence inhabits, Glenn offers a new interpretation of its complex variations and uses. Glenn contextualizes the rhetoric of silence by focusing on selected contemporary examples. Listening to silence and voice as gendered positions, she analyzes the highly politicized silences and words of a procession of figures she refers to as “all the President’s women,” including Anita Hill, Lani Guiner, Gennifer Flowers, and Chelsea Clinton. She also turns an investigative ear to the cultural taciturnity attributed to various Native American groups―Navajo, Apache, Hopi, and Pueblo―and its true meaning. Through these examples, Glenn reinforces the rhetorical contributions of the unspoken, codifying silence as a rhetorical device with the potential to deploy, defer, and defeat power. Unspoken concludes by suggesting opportunities for further research into silence and silencing, including music, religion, deaf communities, cross-cultural communication, and the circulation of silence as a creative resource within the college classroom and for college writers.
http://www.amazon.com/gp/product/0809325845/?tag=2022091-20
(Cheryl Glenn takes the familiar rhetorical reader genre i...)
Cheryl Glenn takes the familiar rhetorical reader genre in exciting new directions, revealing to students how the nine classic rhetorical methods underlie a surprising range of daily discourse — from restaurant menus to online catalogs to campaign speeches — as well as the writing they will need to do in college and beyond. Making Sense offers many well-known selections that have long served as excellent classroom models, but it also provides a stimulating choice of new readings, visual elements, and supporting instruction to show how the rhetorical methods continue to serve the needs of today’s writers both inside and outside the classroom, including civic and other public contexts. Cheryl Glenn takes the familiar rhetorical reader genre in exciting new directions, revealing to students how the nine classic rhetorical methods underlie a surprising range of daily discourse — from restaurant menus to online catalogs to campaign speeches — as well as the writing they will need to do in college and beyond. Making Sense offers many well-known selections that have long served as excellent classroom models, but it also provides a stimulating choice of new readings, visual elements, and supporting instruction to show how the rhetorical methods continue to serve the needs of today’s writers both inside and outside the classroom, including civic and other public contexts. Cheryl Glenn takes the familiar rhetorical reader genre in exciting new directions, revealing to students how the nine classic rhetorical methods underlie a surprising range of daily discourse — from restaurant menus to online catalogs to campaign speeches — as well as the writing they will need to do in college and beyond. Making Sense offers many well-known selections that have long served as excellent classroom models, but it also provides a stimulating choice of new readings, visual elements, and supporting instruction to show how the rhetorical methods continue to serve the needs of today’s writers both inside and outside the classroom, including civic and other public contexts.
http://www.amazon.com/gp/product/0312463839/?tag=2022091-20
(In Silence and Listening as Rhetorical Arts,editors Chery...)
In Silence and Listening as Rhetorical Arts,editors Cheryl Glenn and Krista Ratcliffe bring together seventeen essays by new and established scholars that demonstrate the value and importance of silence and listening to the study and practice of rhetoric. Building on the editors’ groundbreaking research, which respects the power of the spoken word while challenging the marginalized status of silence and listening, this volumemakes a strong case for placing these overlooked concepts, and their intersections, at the forefront of rhetorical arts within rhetoric and composition studies. Divided into three parts—History, Theory and Criticism, and Praxes—this book reimagines traditional histories and theories of rhetoric and incorporates contemporary interests, such as race, gender, and cross-cultural concerns, into scholarly conversations about rhetorical history, theory, criticism, and praxes. For the editors and the other contributors to this volume, silence is not simply the absence of sound and listening is not a passive act. When used strategically and with purpose—together and separately—silence and listening are powerful rhetorical devices integral to effective communication. The essays cover a wide range of subjects, including women rhetors from ancient Greece and medieval and Renaissance Europe; African philosophy and African American rhetoric; contemporary antiwar protests in the United States; activist conflict resolution in Israel and Palestine; and feminist and second-language pedagogies. Taken together, the essays in this volume advance the argument that silence and listening are as important to rhetoric and composition studies as the more traditionally emphasized arts of reading, writing, and speaking and are particularly effective for theorizing, historicizing, analyzing, and teaching. An extremely valuable resource for instructors and students in rhetoric, composition, and communication studies, Silence and Listening as Rhetorical Arts will also have applications beyond academia, helping individuals, cultural groups, and nations more productively discern and implement appropriate actions when all parties agree to engage in rhetorical situations that include not only respectful speaking, reading, and writing but also productive silence and rhetorical listening. In Silence and Listening as Rhetorical Arts,editors Cheryl Glenn and Krista Ratcliffe bring together seventeen essays by new and established scholars that demonstrate the value and importance of silence and listening to the study and practice of rhetoric. Building on the editors’ groundbreaking research, which respects the power of the spoken word while challenging the marginalized status of silence and listening, this volumemakes a strong case for placing these overlooked concepts, and their intersections, at the forefront of rhetorical arts within rhetoric and composition studies. Divided into three parts—History, Theory and Criticism, and Praxes—this book reimagines traditional histories and theories of rhetoric and incorporates contemporary interests, such as race, gender, and cross-cultural concerns, into scholarly conversations about rhetorical history, theory, criticism, and praxes. For the editors and the other contributors to this volume, silence is not simply the absence of sound and listening is not a passive act. When used strategically and with purpose—together and separately—silence and listening are powerful rhetorical devices integral to effective communication. The essays cover a wide range of subjects, including women rhetors from ancient Greece and medieval and Renaissance Europe; African philosophy and African American rhetoric; contemporary antiwar protests in the United States; activist conflict resolution in Israel and Palestine; and feminist and second-language pedagogies. Taken together, the essays in this volume advance the argument that silence and listening are as important to rhetoric and composition studies as the more traditionally emphasized arts of reading, writing, and speaking and are particularly effective for theorizing, historicizing, analyzing, and teaching. An extremely valuable resource for instructors and students in rhetoric, composition, and communication studies, Silence and Listening as Rhetorical Arts will also have applications beyond academia, helping individuals, cultural groups, and nations more productively discern and implement appropriate actions when all parties agree to engage in rhetorical situations that include not only respectful speaking, reading, and writing but also productive silence and rhetorical listening.
http://www.amazon.com/gp/product/0809330172/?tag=2022091-20
Cheryl Glenn was born on September 25, 1950, in Marion, Ohio, United States, to Gene Glenn and Virginia Glenn.
Glenn was educated at the Ohio State University, received there her Bachelor of Science, Master of Arts and Doctor of Philosophy degrees, in 1972, 1981 and 1989 respectively.
Glenn earned three fellowships from the National Endowment for the Humanities.
At the beginning of her career, from 1972 till 1975, Glenn worked as a high school English teacher in Marysville, Ohio. Then she was a self-employed teacher and consultant for eight years from 1977. After that, Glenn moved to the Oregon State University to become an assistant professor at first, from 1989 to 1994, changing her position to an associate professor of English, from 1994 to 1997. She became a founder and director of College of Liberal Arts Center for Teaching Excellence there, working at that post for a year from 1996. Glenn was a faculty fellow of the Center for the Humanities at the Oregon State University in 1993. In 1997 Glenn started her work at the Pennsylvania State University when she has been appointed as an associate professor of English in 1997. Glenn was a visiting professor at the Millikin University in 1997. In addition, Glenn was a speaker at colleges and universities, including the Washington State University and the Ball State University.
Glenn has served as a contributor of articles and reviews to journals, including the College English, the Rhetoric Review, the Writing Instructor and Rhetorica: The Journal of the International Society of the History of Rhetoric.
Now Glenn works as a professor of English and Women’s Studies Director at the Pennsylvania State University. In the summers, she works as a teacher of rhetoric and writing at the Bread Loaf School of English. Glenn works on women’s rhetorics and writing practices, feminist theories and practices, methods for teaching writing.
(After explaining how and why women have been excluded fro...)
1997(This guide to teaching writing and to major theoretical i...)
(Cheryl Glenn takes the familiar rhetorical reader genre i...)
(In Silence and Listening as Rhetorical Arts,editors Chery...)
(In our talkative Western culture, speech is synonymous wi...)
(Grab it and go! HARBRACE ESSENTIALS, 3rd Edition answers ...)
(Rhetoric and feminism have yet to coalesce into a singula...)
Glenn is a member of the International Society for the History of Rhetoric, the Modern Language Association of America, the Conference on College Composition and Communication, the National Council of Teachers of English, the American Society for the History of Rhetoric, the New Society for Language and Rhetoric, the Speech Communication Association, the Association of Teachers of Advanced Composition, the American Association of University Women, the American Association of Higher Education, the Center for the Study of Women in Society, the Philological Association of the Pacific Coast, the Oregon Council of Teachers of English and the Phi Kappa Phi.
Rhetoric Society of America , United States
1994
Coalition of Women Scholars in the History of Rhetoric and Composition , United States
1992
Coalition of Women Scholars in the History of Rhetoric and Composition , United States
1995 - 1997
Coalition of Women Scholars in the History of Rhetoric and Composition , United States
1996 - 1998
Glenn married Jon Olson, they have a daughter - Anna Quillen.