title, cover, songs, and prolonged circulation as coordinated activities, musical world-making, and persuasion outside of direct human rhetorical intent (221). Illustrated through The Shape of Punk to Come, rhetoric is “an action that modifies, modulates, circulates—a series of vibrations that resonate, speed up, slow down, rearticulate, and invigorate ecologies of composition” (222). Hawk concludes by directing attention to the future of composition as a quasi-object through a re-reading of Ede and Lunsford’s canonical 1984 College Composition & Communication article “Audience Addressed, Audience Invoked,” focusing on the authors’ brief mention of writing for eventual audiences. Such a focus on future relationality, Hawk writes, is what resounding is: “setting off the potential for future resonance with eventual audiences and ecologies” (235). Hawk’s composition looks and listens forward, then, as it also casts back, entangling sound, music, humans, materials, and a resonating rhetoric. Resounding sets out a new theory of composition using an impressive (and at times daunting) amount of complex theory, both from rhetoric and composition and other fields. The book is foremost a theoretical text, much of which is dense and layered. Even so, Hawk is at his best when he weaves theory with examples, making composition as a quasi-object more accessible by describing the material and human interactions at the heart of the recording studio, for instance, or the spherical public circulation of Boyfriend’s music online. Hawk’s examples are so useful, in fact, that at times I wanted more detailed descriptions and analysis of the actions and interactions in the case studies. Overall, Resounding the Rhetorical provides rhetoricians and compositionists with in-depth discussions of key texts and concepts, re-read and re-interpreted through the lens of the new materialist quasi-object. Hawk’s discussion of research as transduction through diffractive methods, as one example of this move, was fascinating, reminding me to continually consider the material and the technological along with the human in my own research design and methods. And this, the joining of audience members with Hawk in our thinking and our actions, is how Resounding the Rhetorical enacts the theory it forwards, inviting readers to join in the coproduction of compositional ecologies as we work toward new understandings of what it is we study and practice as rhetoricians and writers.

中文翻译：

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黑人生命问题和所有生命问题的斗争

标题、封面、歌曲和长期流通作为协调活动、音乐世界创造和直接人类修辞意图之外的说服（221）。通过 The Shape of Punk to Come 说明，修辞是“一种改变、调节、循环的动作——一系列振动，这些振动会产生共鸣、加速、减速、重新表达和振兴作曲生态”（222）。最后，霍克通过重新阅读埃德和伦斯福德在 1984 年的大学作曲与传播规范文章“受众解决，受众调用”，将注意力引向作为准客体的作曲的未来，重点是作者对最终写作的简短提及观众。霍克写道，这种对未来关系的关注是响亮的：“激发未来与最终受众和生态产生共鸣的潜力”（235）。霍克的作品向前看和向前听，然后，因为它也向后投射，将声音、音乐、人类、材料和共鸣的修辞融为一体。Resounding 提出了一种新的作文理论，使用了令人印象深刻（有时令人生畏）的大量复杂理论，包括修辞学、作文和其他领域。这本书首先是一本理论性的文本，其中大部分内容是密集和分层的。即便如此，霍克在用例子编织理论时仍处于最佳状态，例如，通过描述录音室中心的物质和人际互动，或男友音乐的球形公共传播，使作为准对象的作曲更易于理解在线的。事实上，Hawk 的例子非常有用，以至于有时我想要更详细地描述和分析案例研究中的行动和互动。全面的，Resounding the Rhetorical 为修辞学家和作曲家提供了对关键文本和概念的深入讨论，通过新唯物主义准客体的镜头重新阅读和重新解释。作为这一举措的一个例子，Hawk 将研究作为通过衍射方法进行转换的讨论很有趣，提醒我在我自己的研究设计和方法中不断考虑材料和技术以及人类。而这一点，观众与霍克在我们的思想和行动中的结合，就是 Resounding the Rhetorical 如何制定它所提出的理论，邀请读者加入组成生态的共同生产，因为我们致力于对我们研究的内容有新的理解并以修辞家和作家的身份进行实践。