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1.
This article explores how Barack Obama's oratory positions “the people” as a site of ongoing rhetorical negotiation regarding national identity, ideology, and potentiality. Like the subjects implicated in Charland's consideration of constitutive rhetoric, “the people” of Obama's rhetoric emerge as the choosers, deciders, and accomplishers of collaborative identity performance. Unlike Charland's subjects, however, Obama's rhetoric of imperfection and dissent positions “the people” as never fully constituted but always engaged in the act of constitution. The people, like the country they constitute, are flawed, never perfect, and always in the process of perfecting. 相似文献
2.
Christine Harold 《Critical Studies in Media Communication》2013,30(3):189-211
This essay explores the practice of “culture jamming” as a strategy of rhetorical protest. Specifically, “pranksters” deploy the tools of the mass media and marketing in order to take advantage of the resources and venues they afford. Through the concept of “pranking,” this essay suggests that the most promising forms of media activism may resist less through negation and opposition than by playfully appropriating commercial rhetoric both by folding it over on itself and exaggerating its tropes. 相似文献
3.
《Communication monographs》2012,79(1):14-22
Expanding upon the Social Value Model of Rushing and Frentz, this essay argues that the fundamental values of the American Western myth exist in the paradoxical form of Individualism vs. Community. Four historical eras are discussed in terms of how the Western film rhetoric of each was patterned in response to threats to the myth. Early Westerns enacted a pattern of “dialectical emphasis” (of Community): classic Westerns, “dialectical reaffirmation “; sixties Westerns, “dialectical emphasis” (of Individualism). It is claimed that reaffirmation of the dialectical tension between the values best strengthens the archetype, and thus America's image of itself. In contrast, the current revival of Western rhetoric, as depicted in the political realm in the elections of Jimmy Carter and Ronald Reagan, and in the popular culture realm in The Electric Horseman, Urban Cowboy.,and “Dallas,” enacts a pattern of dialectical pseudo‐synthesis, and thus is seriously subversive of the fundamental archetype. 相似文献
4.
The rhetorical practice of consciousness‐raising has changed since communication theorists first began to apply its functions and style, as a small group, face‐to‐face practice, in the early 1970s. In this essay, we argue that in feminist activism and theory, the practice of consciousness‐raising has evolved in response to shifting cultural conditions. Our examination of consciousness‐raising rhetoric produced by self‐labeled “third wave” feminists reveals how contemporary social contexts have generated different rhetorical problems and discursive responses for feminists. Specifically, we show how third wave feminist consciousness‐raising instills a critical perspective that focuses on personal and social injustices. We argue that these rhetorical responses raise consciousness in the public sphere, through mass media, popular culture, and college classrooms, fostering both public and private dialogue about gender inequities that aims at self‐persuasion. 相似文献
5.
Emmanuel Levinas writes of how the “call of conscience”; is a “primordial discourse”; that “interrupts”; the routines and language‐games that help organize and give meaning to a person's everyday existence. Levinas thus provides a way of thinking about the relationship between the call of conscience and rhetoric that advances what rhetorical theorists have so far claimed about this relationship. This essay develops the position that the call of conscience is a rhetorical interruption in its purest form. A case study is offered to illustrate how such an interruption manifests itself in the debate over the justifiability and social acceptability of physician‐assisted suicide. The specific rhetorical transaction in question occurred in cyberspace and lasted five months; it began when members of a disability civil rights group known as “Not Dead Yet!”; conducted what their opponents described as an “invasion”; of an electronic mailing list operated by the Euthanasia Research and Guidance Organization. 相似文献
6.
Bonnie J. Dow 《Communication Studies》2013,64(3-4):225-240
AIDS activist Larry Kramer's 1983 essay, “1,112 and Counting,” was a key rhetorical event in the development of AIDS activism by gays. This analysis relies on perspective by incongruity to explain Kramer's attempts to stimulate AIDS activism by altering gays’ perceptions of the disease and its implications for their lives and identities. The author argues that the power of perspective by incongruity in this case is linked to its facilitation of genuine argument, a personalized form of persuasion that forces both arguer and audience to confront an argument's implications for their own identities and behavior as moral human beings. The conclusion suggests that “1,112 and Counting” functions as a variant of constitutive rhetoric that de‐constructs and re‐constructs audience identity. 相似文献
7.
Hoover Dam, located on the Arizona-Nevada border and damming the Colorado River, is a well-known and often-visited place. The meanings people assign to such a structure articulate key environmental, economic and technological ideologies. An exploration of those meanings is important for understanding the forces that shape public perception and environmental policy. Specifically, this essay examines the official rhetoric of Hoover Dam from an ecofeminist perspective. Through a critical reading of the educational displays, films, plaques and other texts as well as the physical structure of the dam itself, three rhetorical strategies used in the dam's official presentation are identified. First, the Bureau of Reclamation presents the Colorado River as a chaotic, feminine entity in need of masculine control. Second, the river's rhetorical status as an Other encourages audiences to identify with the subject position of nature's master and thereby participate in the pleasures such an identity offers. Third, the Bureau uses the prevalent “common sense” of Native Americans as environmentally sensitive in combination with an “historical” Native American voice to establish the dam as both environmentally sound and a logical step in humanity's progress toward economic development and dominion over nature. 相似文献
8.
J. Louis Campbell III 《Communication Studies》2013,64(2):174-186
Jimmy Carter's unusual success in the Presidential Primaries of 1976 has been the subject of much discussion. One rhetorical explanation posits that Carter's message may be described in terms of Weber's concept of charisma, and Bormann's theory of rhetorical vision. The charismatic message was caught up in a unique rhetorical situation, the social fantasies attending the Bicentennial Celebration. Carter's rhetoric and the people's fantasies transcended along similar lines. This confluence helped to carry Carter to the White House. 相似文献
9.
《Journal of Radio & Audio Media》2013,20(1):30-49
Various radio and pulp incarnations of The Shadow have played a pivotal role in shaping American superhero mythology and cultural unconscious. This essay explores The Shadow's origins within the 1930s, and then utilizes Fantasy Theme Analysis to uncover mythic tensions and conflicts within The Shadow's transition from noir-like dystopian antihero into the more romantic utopian superhero of Orson Welles' 1937 radio program. We conclude by contemplating rhetorical implications for The Shadow's “symbolic divergence,” a fantasy evolving into contradictory counter-fantasies and rhetorical visions in radio and pulps, as a provocative illustration of theoretical debates regarding the psychodynamic functions of rhetorical fantasy. 相似文献
10.
《Qualitative Research Reports in Communication》2013,14(1):46-61
This essay will provide further insight into how Black audiences interpret a popular culture text by focusing upon how a group of young black men construct Black masculinity as depicted in the film Barbershop. Interestingly, a rhetorical community of young Black men discussed the representations of the characters in the film from a perspective of Black individualism rather than reaffirming identity through a collective orientation toward the culture. This reading contrasts with much of the “ghettocentric” film literature by highlighting how a Black audience's interpretation of a text can focus on individualism rather than on cultural representations and stereotypes. 相似文献
11.
Traditional rhetorical theory tends to adopt the rhetor's point of view, emphasizing invention of rhetorical messages, rather than the audience's reception and interpretation of messages. The audience is ordinarily conceptualized in humanistic rhetorical theory as a target, a source of expectations to guide the rhetor's invention, a means to accomplish the rhetor's ends, or even an obstacle. We argue that a more complete view of rhetoric should include the audience as a potentially active part of the process of persuasion. Accordingly, we propose to supplement our traditional theories of rhetoric by sketching a complementary view of rhetoric as the process of an auditor's processing and responding to messages. The inspiration for this conception, Petty and Cacioppo's Elaboration Likelihood Model, is sketched, and implications for rhetorical theory and criticism are discussed. 相似文献
12.
Joshua Gunn 《传播与批判/文化研究》2013,10(2):135-157
Through a sustained critique of the iPod and discourse about it, this essay advances a psychoanalytic rhetoric of music that characterizes listening experiences in terms of two psychical economies: the psycho-somatic or experiential and the symbolic. We argue that these economies work together to produce the fantasy of a “sonorous envelope,” a re/presentation of losing one's self in music. Because the dis/pleasurable experience of the sonorous envelope is a retroactively imposed understanding of an otherwise ineffable musical encounter, we argue for analyzing representations of the sonorous envelope in popular culture. 相似文献
13.
This essay explores the early history of the “separate but equal”; doctrine in nineteenth century legal and political argumentation. By employing ironic and tragic frames, the authors challenge the traditional, linear approaches to legal historirizing. Moving beyond legal texts, the authors investigate how various communities in antebellum Boston negotiated conflicting views about how to best advance the cause of civil rights, both inside and outside the courtroom. These early debates created a complex rhetorical culture, and they provided jurists with several possible interpretations of the terms “separate”; and “equal.”; The authors conclude that these early debates, and Lemuel Shaw's subsequent decision in Sarah C. Roberts v. The City of Boston (1849), provide readers with insightful illustrations of the irony and tragedy of the law. 相似文献
14.
《Journal of Radio & Audio Media》2013,20(1):47-64
National Public Radio's flagship news program All Things Considered has long been known for its sophisticated style of political and cultural news coverage. In past years the program has increased the number and types of popular culture stories covered to reflect the changing interests of listeners. This content analysis found that coverage of popular culture significantly increased in relation to the more traditional “high” culture stories, such as opera and art. The results suggest that All Things Considered is working to bring more popular culture coverage to the program while not losing focus on its traditional style of news coverage. 相似文献
15.
This article explores the “Great Speech” Nutuk, delivered in 1927 by Turkey's founder, Mustafa Kemal Atatürk. In analyzing Nutuk and its rhetorical features, we identify the mythic underpinnings Atatürk employed to construct a modern “Turkish people.” We use this case to further our understanding of the constitutive discourses of nationalism. We believe Atatürk's Nutuk provides a profitable discourse to think with as we attempt to understand Muslim nations and their negotiation of modernity. 相似文献
16.
This paper explores how Will & Grace, which has been heralded in the popular press for its positive representations of gay men, situates the potentially controversial issue of homosexuality within safe and familiar popular culture conventions, particularly those of the situation comedy genre. This paper draws on feminist and queer theory to examine the liabilities of relying on these familiar situation comedy conventions, demonstrating how the program equates gayness with a lack of masculinity, relies on sexual tension and delayed consummation, infantilizes the program's most potentially subversive characters, and emphasisizes characters' interpersonal relationships rather than the characters' connection to the larger social world. Additionally it argues that by inviting mainstream audiences to read the program within familiar televisual frames, Will & Grace can be read as reinforcing heterosexism and, thus, can be seen as heteronormative. 相似文献
17.
Charles J. G. Griffin 《Communication Studies》2013,64(2):196-210
Eyes on the Prize: America's Civil Rights Years ranks as one of the most successful public television documentaries ever produced. Although it originally aired in 1987, the series has since been shown widely in school and college classrooms, where it arguably has influenced many students’ understanding of the civil rights struggle and, more fundamentally, of the nature and form of “social movement” itself This essay draws upon Kenneth Burke's concept of “significant form” to examine how the documentary's design works to shape public memory of the civil rights struggle as a social movement. In addition to yielding insight into the rhetorical structure of a landmark television documentary, the analysis of form in Eyes on the Prize illumines how public consciousness of “social movement” can be created and perpetuated through narrative form. 相似文献
18.
Jonathan Gray 《Critical Studies in Media Communication》2013,30(3):223-238
This paper examines televisual parody as a media literacy educator, and the potential of parody to channel the powers of comedy and entertainment in order to “teach” the techniques and rhetoric of televisual texts and genres. It focuses on the case of the hugely successful and popular animated parodic sitcom, The Simpsons, and its playful attack on advertising and promotional culture. Currently in its 16th season, The Simpsons broadcasts to approximately 60 million viewers in 70 countries weekly, offering a playful critique of television from within the television frame. 相似文献
19.
《Communication monographs》2012,79(4):287-295
Attempts to circumscribe “the Burkean method” of rhetorical criticism can be frustrating. Critics more profitably might use Burke as an example and a prod, appropriating—as was done in this study—whichever of Burke's concepts, methods, and metaphors seem applicable to a given rhetorical event. Burke's “chart‐prayer‐dream” trilogy, together with his understanding of “strategies,” was employed to examine Morley's “Home Rule” speech before the Oxford Union in 1888. Morley's reply to Randolph Churchill abandoned propositional argument in favor of reviv‐alistic‐exhortation early in the speech; his strategies of form, argument, labelling, style, and mimesis are best understood as those of the High Priest seeking a confessional and an act of expiation from his auditors. 相似文献
20.
Does political rhetoric hold the key to an understanding of political pathology? Blending historical scholarship and behavioral research, this study tested empirically hypotheses derived from Richard Hofstadter's model of the “paranoid style” in American politics. The data were drawn from John A. Stormer's None Dare Call It Treason. 相似文献