LAUSR

ABSTRACT In this paper, we present a synthesis of Kenneth Burke’s rhetoric of identification and Jay Lemke’s social semiotics to frame Eleanor Rigby by the Beatles as a unique point in the phylogenesis of recorded popular music. We emphasise the social semiotic functioning of string arrangements as styles, with style also being understood in the manner of Burke, and style names and definitions being drawn from a corpus analysis of string arrangements for popular music. We argue that, through a rhetoric of style, Eleanor Rigby made canonical claims against rock's cultural counterpart, classical music. We demonstrate the working of the rhetoric and its political implications in the context of the counter-cultural forces active during the mid-1960s.