The Revolutionary Rhetoric of Hamilton

This scholarly exploration of Hamilton encourages audiences to interpret this popular culture force in a new way by revealing that the musical confronts conventional perceptions of American history, racial equity, and political power. Contributors explore the ways in which the musical offers social commentary on issues such as immigration and gender equity, as well as how Hamilton re-considers the roles of theatre in making social statements, especially relating to the narrator, the curtain speech, and musical traditions. Several chapters directly address recent controversies and conversations surrounding Hamilton, including the #CancelHamilton trend on social media, the musical's depiction of slavery, and its intersections with the Black Lives Matter movement. Employing multiple novel theoretical approaches and perspectives—including public memory, feminist rhetorical criticism, disability studies, and sound studies— The Revolutionary Rhetoric of Hamilton reveals new insights about this beloved show for scholars of theatre studies, media studies, communication studies, and fans alike.

Table of Contents:
Contents Acknowledgments Introduction: Turning the World Upside Down Nancy J. Legge, Jacob Justice, and Luke Winslow Section I: Revelations About History 1“If You Had to Choose”: Hamilton, Public Memory, and the Hamilton-Jefferson Rivalry Talya Peri Slaw and Jacob Justice 2Washington Says Good-bye: Examining 'One Last Time' through Public Memory Jessica L. Gehrke 3The Rhetorical Significance of John Laurens in Hamilton: An American Musical Nancy J. Legge 4Da Da Dada Da: The Discourse of the Mad Monarch Sarah Mayberry Scott Section II: Revelations About Race 5 Casting as a Rhetorical Act: Color-Purposeful Casting and Hamilton's Anti-White Casting Call Ailea G. Merriam-Pigg 6 Hamilton's Revolutionary Aesthetic: Race, Hip hop, and the American Style Luke Winslow and Jonathan Veal 7 Hamilton, Social Revolution, and the Black Lives Matter Movement Caleb George Hubbard Section III: Revelations About Socio-Political Issues 8 Immigrants: Getting the Job Done Then and Now Judith P. Ro

About the Author :
Luke Winslow is assistant professor of rhetorical studies in the Department of Communication at Baylor University. Nancy J. Legge is professor in the Department of Communication, Media, and Persuasion at Idaho State University. Jacob Justice is assistant professor of speech communication and the director of forensics in the Department of Writing and Rhetoric at the University of Mississippi.

Review :
This wide ranging study integrates a number of important fields: popular culture, American history, and musical theatre among others. It uses connections between these disciplines to show some important ways in which the political issues that engross our country are handled rhetorically through cultural artifacts. This is an important, integrative book. The Revolutionary Rhetoric of Hamilton is an indispensable resource for understanding the multiple important messages in the greatest musical of our time, Hamilton. In revealing the meaning of Hamilton, the chapters in this book also reveal a great deal about historical and contemporary popular and political culture. “This edited collection grounds its chapters in a larger argument about the importance of rhetoric and popular culture. It is essential reading for those interested in history, politics, identity, and entertainment, and makes an especially important contribution especially to the ongoing scholarship on one of Broadway’s biggest hits.” [This] volume does an exceptional job of drawing in the reader and laying out a potent argument for Hamilton's impact on the reconsideration of the American dream. Because of the strong connections with theory and careful use of each analysis type, the book would serve a classroom extremely well. Undergraduates hesitant to approach rhetoric will quickly see the benefit of careful analysis, and with the popularity of Hamilton, they will see how each of them is actively engaged in public rhetoric—even if they only know the words to “My Shot.”