Other Works
A later work is Modern Dogma and the Rhetoric of Assent, in which he addresses the question of what circumstances should cause one to change one's mind, discussing what happens in situations where two diametrically opposed systems of belief are in argument. His central example is an incident at the University of Chicago. In it, students and administration were engaged in fierce debate that eventually degenerated into each side simply reprinting the other side's arguments without comment, believing that the opposing side was so self-evidently absurd that to state its propositions was to refute them.
In the Rhetoric of Fiction Wayne Booth coined the term "unreliable narrator".
Another book of note is 1974's The Rhetoric of Irony, in which Booth examines the long tradition of irony and its use in literature. It is probably his second most popular work after The Rhetoric of Fiction. A later work is The Company we Keep: An Ethics of Fiction, in which he returns to the topic of rhetorical effects in fiction, and "argues for the relocation of ethics to the center of our engagement with literature" (cover note, The Company we Keep).
The University of Chicago Wayne C. Booth Graduate Student Prize for Excellence in Undergraduate Teaching was established in 1991 in honor of Booth. The award is given out annually.
Read more about this topic: Wayne C. Booth
Famous quotes containing the word works:
“Most young black females learn to be suspicious and critical of feminist thinking long before they have any clear understanding of its theory and politics.... Without rigorously engaging feminist thought, they insist that racial separatism works best. This attitude is dangerous. It not only erases the reality of common female experience as a basis for academic study; it also constructs a framework in which differences cannot be examined comparatively.”
—bell hooks (b. c. 1955)
“A creative writer must study carefully the works of his rivals, including the Almighty. He must possess the inborn capacity not only of recombining but of re-creating the given world. In order to do this adequately, avoiding duplication of labor, the artist should know the given world.”
—Vladimir Nabokov (1899–1977)