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This is the first thorough and systematic interrogation of Republican Party oratory and rhetoric that examines a series of leading figures in American conservative politics. It asks: How do leading Republican Party figures communicate with and influence their audiences?; What makes a successful speech, and why do some speeches fail to resonate? Most importantly, it also investigates why orators use different styles of communication with different audiences, such as the Senate, party conventions, public meetings, and through the media. By doing so it shines important new light into conservative politics from the era of Eisenhower to the more brutal politics of Donald Trump. The book will appeal to students and scholars across the fields of US politics, contemporary US history, and rhetoric and communication studies.
About the author
Andrew S. Crines
is Lecturer in Politics at the University of Liverpool, UK. He holds the 2017 PSA Richard Rose Prize, and is a Fellow of the Royal Historical Society. His previous publications include:
Democratic Orators from JFK to Obama
(with D. S. Moon and R. Lehrman, 2016);
The Political Rhetoric and Oratory of Margaret Thatcher
(with T. Heppell and P. Dorey, 2016), and two volumes on oratory in Conservative and Labour Party politics respectively (with R. Hayton, 2015).
Sophia Hatzisavvidou
is Lecturer in Politics at the University of Bath, UK. She is working on a project on environmental rhetoric funded by the Leverhulme Trust. She has previously taught rhetoric at Goldsmiths, University of London and she has published in academic journals such as
Political Studies
,
Social Movements Studies
,
Global Discourse
, as well as the monograph
Appearances of Ethos in Political Thought
(2016).
Summary
Applies a distinctive analytical framework to Republican Party oratory and rhetoric
Sheds new light on the importance of the communication styles used by high profile political actors in the US Republican Party
Acts as the companion volume to
Democratic Orators from JFK to Barack Obama
(Palgrave, 2016)
