Monday, November 15, 2010

What is the purpose of critical rhetoric?


Following the inspirational conversation about critical rhetoric in class, I reflect back upon my first experience to McKerrow’s ideas.  It is a narrative that I shall never forget. 

It was my first year of graduate school at Syracuse University.  I decided to take a seminar class with Dr. Kendall Phillips entitled, “Rhetoric, Power, and Subjectivity.”  Little did I know, that the class was not exactly what I thought it, and would be a true intellectual journey. 

While the readings in the course floated over my head and I had literally no idea what Hannah Arendt was talking about, or did I care what Foucault had to say, years later I can finally say I understand. 

My experience with critical rhetoric is personal.  For my final term paper, I decided to explore the Iranian Revolution of the 1970’s and Foucault’s interaction as a critic.  I was curious about the issue of critical rhetoric, telos, and the responsibility or obligation of the rhetor.  Sounds like a hot topic huh? 
Needless to say my inexperience in the literature and the complexity of the topic lead me to one of the greatest adventures of my graduate life. 

The reason I highlight this brief collective memory of my past is that it evokes a true “aha” moment of my life.  I will admit, at the time, I was skeptical of McKerrow and the idea of “critical rhetoric”
I thought-what was the point?  

Ok, so we reach a point in rhetorical criticism in which we seek to create a state of permanent criticism.  Hmmm… I wonder at times why is this groundbreaking? 

At what point did Kenneth Burke or Edwin Black decide that a little bit of criticism was efficient? 
Long story short, if we do not continue to question the world, we fail as rhetorical critics…. 

Tuesday, November 2, 2010

Critical Perspective: (ROUGH DRAFT)

     Recent scholarship in the interdisciplinary field of visual politics notes a turn in presidential rhetoric.  Keith Erickson argues that contemporary politics has taken a visual turn as “Presidential images were exposed as mystifying political reality, bypassing the public forum, serving partisan interests, and misdirecting the citizenry’s attention.”[1]  As a result, there is a need for scholars to develop critical perspectives drawing upon a combination of disciplines including visual culture, visual rhetoric, and public memory. 
     To build a critical lens to analyze the Obama-Hitler image, I combine scholarship in the areas of visual culture and public memory.  An interdisciplinary critical perspective will provide the necessary tools to analyze the image.  My goal is to create a methodology that encourages interdisciplinary discussions with the intersection of visual culture and public memory.  The first portion of this essay explores images and visual culture, and the second part discusses literature on public memory.  I conclude the perspective by looking at constitutive and performative rhetoric. 

Visual Culture:

     Visual culture offers valuable insights into how images create the everyday cultural world. In contemporary culture, there has been a pictoral turn resulting in an image-based society.  W.J.T. Mitchell defines the pictoral turn as the “widely shared notion that visual images have replaced words as the dominant mode of expression in our time.”[2]  Mitchell focuses on shifting our understanding of images from vehicles of meaning to objects of desire.  Within the pictoral turn, our culture becomes a visual culture.  The primacy of visuals and images trumps the spoken or written form of discourse and rhetoric. 
Furthermore, images function to create the world of reality.  The relationship between images and meaning is vital to the American culture.  Mitchell notes, “The relationship between words and images reflects, within the realm of representation, signification, and communication, the relations we posit between symbols and the world, signs and their meanings.”[3]  Although there is no language in imagery, the relationship between words and images interact to create visual culture.   
     To understand how images function in American culture, scholarship on iconic images provides insights.  Hariman and Lucaites dig deep into visual culture and imagery with their focus on iconic photographs and public culture.  Images are vital to public culture and have “developed historically through use of modern communicative media to define the relationship between the citizen and the state.”[4]  Furthermore, Hariman and Lucaites develop five essential characteristics with iconic photographs.  First, the image must contain an element of aesthetic familiarity, which the image uses the conventions of public arts and persuasive practices familiar to a public audience.[5]  Second, the image functions as a mode of civic performance for a culture.  A visual icon is situated and reflexive, and offers a performative embodiment of social codes in the public media and provides a public a sense of collective agency.[6]
     Third, images are a form of semiotic transcriptions.  Imagery operates within visual and verbal semiotics and offers artistic, social, and political codes that are used to provide multiple representations of an event.[7]  Fourth, images are emotional scenarios that provide audiences powerful evocations of emotional experience.[8]  Emotions are a vital component with iconic images as they evoke feelings of pride, outrage, hostility, pain, pleasure, and so forth.  Fifth, images are contradictions and crises with the ability to “reveal how the political structure inhibits fulfillment of the social contract.”[9] More importantly, iconic images become “an aesthetic resource for performative mediation of conflicts.”[10]  These characteristics for iconic images provide valuable analytic perspectives to consider with the Obama-Hitler image.  It is not my claim that the image is iconic, rather it displays and features several aspects of visual rhetoric.  With an understanding of how visual culture functions, I now turn to literature on public memory.
 
Public Memory:
     The intersection of visual culture with public memory demands a response from scholarship.  To understand how images create American visual culture, the concept of cultural memory provides an answer.  The term cultural memory is defined as, “Memory that is shared outside the avenues of formal historical discourse yet is entangled with cultural projects and imbued with cultural meaning.”[11]  Thus, cultural memories are symbolic representations of history and enable visual politics to create particular social, cultural, and political meaning through collective social belief. 
     Furthermore, the relationship between public/cultural memory and rhetoric provides insights into how language whether visual, written, or spoken triggers the rhetorical process of how memories attain meaning, compel others to accept them, and are themselves contested, subverted, and supplanted by other memories are essentially rhetorical.  Kendall Phillips articulates public memory as essentially a rhetorical process and defines public memory as a way of understanding the “complex interrelationships among past, present, and future.”[12]  The relationship between image and word to create public memory becomes an important issue.  W.J.T. Mitchell claims, “Images are active players in the game of establishing and changing values.  They are capable of introducing new vales into the world and thus of threatening old ones.”[13]  In a rhetorical sense, the tension between images and words is a “dialectical struggle in which opposing terms take on different ideological roles and relationships at different moments of history.”[14]
     The dynamic relationship between visual culture and public memory offers an opportunity to further explore how rhetoric functions.  In particular, the publics’ consciousness of reasoned discourse in the public sphere offers a tension to be discussed.  Drawing upon the work of Kevin DeLuca, he questions the function of image events in the public sphere.  While DeLuca focuses on image events to disrupt and challenge discourse, his application of rhetoric, reason, and the public sphere is applicable to this project.  DeLuca scholarship studies how protest groups reconstitute identity of a dominant culture by challenging and transforming mainstream society’s key discourses and ideographs.[15]   While the focus here is on the ability of rhetoric to challenge dominant culture and discourse, to further understand how rhetoric is constitutive, I turn to literature on deliberative rhetoric and the public sphere. 
     Rhetoric in its deliberative nature is able to construct reality.  The ability of rhetoric to deliver knowledge is the premise of social knowledge.  Thomas Ferrell defines social knowledge as “symbolic relationships among problems, persons, interests, and actions, which imply (when accepted) certain notions of preferable public behavior.”[16]  Thus, imagery functions as a performative constitutive rhetoric that creates social knowledge concerning issue of public interest.  However, as McGee reminds us, the collective activity of individuals to be persuaded by ideologies creates an epic problem between “true” and “false” consciousness.  McGee claims that ideology is a “political language, preserved in rhetorical documents, with the capacity to dictate decision and control public belief and behavior.”[17] In this framework, ideographs are constitutive of the people or the public.  Thus, the task ahead is to understand how visuals and imagery functions as representations of ideographs.  It also provides the basis to uncover the publics’ political consciousness. 
     Understanding how images affect public political consciousness is central to this project.  While the Obama-Hitler image is only one example of the dynamics with visual culture and public memory, it offers an opportunity to extend our theoretical understandings.  The combination of multiple interdisciplinary studies contributes to developing this critical perspective. 

 **Please excuse and forgive all grammatical and sentence structure problems.  This is only a barebones rough draft ideas and I've experimented with a different writing approach.  


[1] Erickson, K.V.. "Presidential Rhetoric's Visual Turn: Performance and Fragments and the politics of Illusionism." Communication Monographs 67, no. (2000): 138-157.
[2] Mitchell, W.J.T.. What do pictures want?. Chicago: The University of Chicago Press, 2005.
[3] Mitchell, W.J.T.. Iconology: Image, Text and Ideology. Chicago: The University of Chicago Press, 2009.
[4] Hariman, R. & Lucaites, J.L.. No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. Chicago: The University of Chicago Press, 2007.
[5] ibid 30 
[6] Ibid 34
[7] ibid 34
[8] ibid 35
[9] ibid 37
[10] ibid 37
[11] Sturken, M.. Tangled Memories: Vietnam War, the Aids Epidemic, and the Politics of Remembering . Berkley: The University of California Press, 1997.
[12] Phillips, K.. Framing Public Memory. Tuscaloosa: The University of Alabama Press, 2004.
[13] Mitchell, W.J.T. What Do Pictures Want, p. 105
[14] ibid 98
[15] Deluca, K.M.. Image Politics: The New Rhetoric of Environmental Activism. New York: The Guilford Press, 1999.
[16] Ferrell, T.. “Knowledge, Consensus, and Rhetorical Theory.” Quarterly Journal of Speech 62, (1976): 1-14.
[17] McGee, M.C.. “The ‘Ideograph’: A Link Between Rhetoric and Ideology.” Quarterly Journal of Speech 66, (1980): 1-16.

Monday, October 25, 2010

Critical Perspective


Hello all avid readers of Richardson’s rhetoric, as I prepare for the next stage in my term paper, I need some help.  Currently I am drafting a list of readings for my critical perspective. 

Overall, my project looks at the intersection of public memory and visual politics.  Here is my list so far:


Deluca- Image Politics
Vivian- Public Forgetting
Phillips- Public Memory
Edelman- The symbolic uses of politics
Hariman and Lucaites: No caption needed
Prelli- Rhetorics of Displays (edited volume)
Olson, Finnegan, and Hope: Visual Rhetoric (edited volume)
Habermas- The public sphere
W.J.T. Mitchell- What do pictures want
Sturken- Tangled Memories


My goal is to research how visual politics function in the public sphere of American address.  There are several concepts I’m considering exploring such as: Participatory Democracy, Cultural Memories, Public Forgetting, rational discourse in a public sphere, and emotional management. 


Please let me know if you have any suggestions.  

Saturday, October 9, 2010

Do Genres Really Exist?


“I don’t believe genres exists!” shouted a classmate during our graduate seminar on rhetorical methods.  Although his outburst was rude and violated any common sense of decorum, his provocative statement deserves further inquiry.[1] 

So, what exactly is a rhetorical genre?  Jamieson and Campbell define a genre as, “a complex, an amalgam, a constellation of substantive, situational, and stylistic elements.”[2]  Their focus on developing methods of genre criticism is rooted on the identification of reoccurring rhetorical acts.  Furthermore, Jamieson and Hall argue the purpose of generic criticism:

Enables us to appreciate the idiosyncratic as well as the recurrent, to recognize the appropriate and sensitive response to a complex situation.  It enables a critic to describe the special characteristics of an address, to identify when conflicting demands from the audience, the institution, and the rhetor will arise, the circumstances under which elements from different genres are demanded, and the rhetorical constraints governing their successful combination.[3]  

This compact description provides two important guidelines for applying generic criticism.  First, the critic must recognize the underlying complex situation followed by identifying the special characteristics of the text.  Second, genre criticism seeks to understand the dynamics between the rhetorical situation, audience, and rhetor.

Within the surrounding discussions of genre criticism and theory, some scholars have noted the importance of the situational element above the stylistic and substantial features.  Traditional studies of genre consider the situation as “the force responsible for discourse production.”[4]  Jamieson and Campbell argue that a genre is “called forth by complex situations and purposes and, as such, are transitory and situation-bound.[5]

These perspectives on genre studies raise an interesting question about whether a genre can exist without a situation?  I’ve attempted to think of a genre that exists without a situation and have come short.  I think more importantly, scholars of rhetorical criticism should consider the possibility of developing a Burke style ratio approach to understanding genres.  In other words, the work by Kenneth Burke on dramatism and the pentad encourages critics to apply ratios between the elements of the pentad to discover the underlying motives behind a rhetorical act.  Applying the terms of genre criticism (substantive, stylistic, and situational) may provide a key opportunity for contemporary rhetorical studies to expand our understanding of genres. 

In response to the claim “genres don’t exist,” I would argue not only do genres exists, but genres are evident almost in all aspect of daily discourse and communication.  


[1] The narrative is slightly blown out of proportion.  While these events truly did occur, my description of the account needs no further discussion.   
[2] Jamieson, K.H., & Campbell, K.K. (Eds). (1978).  Form and Genre: Shaping Rhetorical Action.  Falls Church:  Speech Communication Association.
[3] Jamieson, K.H., & Campbell, K.K. (1982). Rhetorical hybrids:  Fusions of generic elements.  Quarterly Journal of Speech, 68, 146-157.
[4] Benoit, W.L. (2000). Beyond genre theory: the genesis of rhetorical action. Communication Monographs, 67(2), 178-192.
[5] Jamieson, K.H., & Campbell, K.K. (Eds). (1978).  Form and Genre: Shaping Rhetorical Action.  Falls Church:  Speech Communication Association.

Sunday, October 3, 2010

Visual Rhetoric and Public Memory: The Obama-Hitler Image Historical Context


     On October 29, 2008, an estimated crowd of 300 students gathered to protest the Obama administration at Texas A&M University in College Station.  Although political protest is a normal component of the American political atmosphere, this particular demonstration included a gesture of disgruntlement and hostility.  The student organization Young Conservatives of Texas (YTC) hosted an “Anti-Obama Carnival;” as one member describes, “The opportunity to make sure Obama gets a very clear TEXAS-SIZED MESSAGE to stop the liberal assault on our country cannot be passed up.”[1] In the Rudder Plaza, a large piece of blue plywood provided a backdrop for students to throw eggs at a picture of Obama while a sign read, “Hello my name is: Bad for America.” [2]  While the demonstration created a buzz around local and national headlines, perhaps the most pivotal moment during the event was an African-American student who walked in front of the sign to stop the protest.  The YTC claimed the egg toss was a symbolic act to represent “throw away your nest egg.”  Others felt the protest was an attack on Obama himself.  In addition, students were encouraged to partake in a game of “socialist on a stick Obama ring toss.”  These events created an instant spotlight and heated debate over free speech.  Despite the controversy, the protest highlights the value of political imagery, an aspect of political communication often overlooked.
     While the isolated incident at Texas A&M is an extreme example of political protests, the demonstration speaks to a discourse on visual politics and public memory.  Visual forms of politics is nothing new to American culture, however, recent examples illustrate how public memory and visual rhetoric can create potentially harmful images.  More specifically, images have surfaced that depict Obama as a modern day Hitler.  Although George W. Bush faced similar political images, the visuals of Obama as Hitler raise significant questions for consideration.  Before we can explore the Obama Hitler image, it is necessary to understand the context of contemporary American politics.  The first portion of this paper explores the 2008 election scene, followed with a discussion on Obama’s Administration during his first two years of office.  Then I provide information about the LaRouche Political Action Committee, which is the organization that created and circulated the Obama Hitler image.   The historical context surrounding the Obama-Hitler image provides necessary information needed to understand the complexity of the symbolic image. 

The 2008 Presidential Election:   
     The 2008 Presidential Election was historic and changed the landscape of American politics.  For the first time an African-American was elected President.   Time states, “In one of the craziest elections in American history, Barack Obama overcame a lack of experience, a funny name, two candidates who are political institutions and the racial divide to become the 44th President of the United States.”[3]  While the election demonstrated progress for racial equality in America, it also has fueled a hostile political environment. 
     The road to the White House in 2008 was long and vigorous.  The candidates John McCain (Republican) and Barack Obama (Democrat) faced several painstaking issues.  Stepping into a political atmosphere agitated by eight years of the Bush Administration required the candidates to address issues of an economic recession, high unemployment rates, and an endless war on terrorism in Afghanistan and Iraq.  The damage from the Bush Administration challenged the candidates to restore a nation torn apart.     
     The Republican ticket of John McCain and Sarah Palin featured a campaign message of “Experience” and “Country First.”  Charles Madigan explains, “The Republicans turned to McCain because, in the wake of George W. Bush’s disastrous presidency, he was the most un-Bush-like of the options and had a powerful story to tell, a true warrior’s story about honor, bravery, and determination.”[4]  Although McCain’s credentials displayed him as a heroic candidate, factors such as the Bush Doctrine, The Patriot Act, and Guantanamo Bay threaten his Republican platform. 
      The Democrat ticket included Barack Obama and Joe Biden with a central message of “Hope” and “Change.”  Carl Pederson claims, “Barack Obama won the Democratic nomination and the general election in part because of this message of change, a break with the recent past.”[5]   Obama’s story of politics touches upon the ideals of the American dream begins with his community involvement as a social activist in Chicago, which led him to run for the Illinois Senate. 
      On November 4, 2008, American citizens went to the polls with the world watching.  The voter turnout in 2008 shattered previous voting records.  An estimated 130 million voters casted a vote in the election and  Obama received nearly 70 million votes for the victory.  Furthermore, voting groups such as African-Americans, Hispanics, Women, and the Youth vote all increased in volume.
     The last factor to consider with the 2008 election is the rise of new media technologies. Although media technologies have slowly surfaced during recent election, politics and media exploded with the Internet in 2008.  Thomas Hollihan claims that the Internet has a “significant impact on political campaigns, citizens’ political activism, and communication with elected officials.”[6]  In 2008, both candidates relied on a variety of new media technologies including social networks such as Facebook, Twitter, and Youtube.  The McCain and Obama campaigns adapted to the demands of changing communication technologies to offer voters information that is more accessible. 

The Obama Administration:
     On January 20, 2009, Barack Obama became the 44th President of the United States.  Presidential Inaugurations are a vital component in American politics.  The speech marks a new beginning and establishes the goals and agenda for the next four years.  Obama’s inauguration address highlighted a historic moment in American politics and drew an estimated crowd of 1.8 million people to the Washington Mall.[7] The New York Times describes, “Barack Hussein Obama became the 44th president of the United States on Tuesday before a massive crowd reveling in a moment of historical significance.”[8]  With the declaration of the words to “preserve, protect, and defend the Constitution of the United States so help me God,” Chief Justice John Roberts swore in the first African-American President.
     Perhaps the most important aspect of a Presidential term is the first 100 days.  This time-period is known for its ability to display a shift in power in the White House.  The Obama Administration took office with determination.  The list of accomplishments during the first 100 days includes closing Guantanamo Bay, tax cuts for the middle class, lifting the ban on federal funding for stem cell research, and signing a $410 billion stimulus bill.  These actions reversed several of the policies put in place by the Bush Administration.  Within the few two days of office, Obama closed the highly criticized and controversial terrorist detention center: Guantanamo Bay.  A place where suspected torture was exerted on prisoners whom were without basic constitutional and international rights. Other items on Obama’s agenda included reform for the financial and automotive industry.
     Obama began to address the issue of healthcare reform in the second year of his presidency.  The idea of government involvement with providing healthcare to all Americans stirred a heated debate between Democrats and Republicans.  The Democrats’ perspective on healthcare reform addressed issues denying individuals access to insurance based on pre-existing conditions and other measures.  The Republicans viewed the health care bill as unconstitutional and claim an individual mandate is an “unprecedented overreach by the federal government forcing individuals to buy a good or service for no other reason then they happen to be alive or a person.”[9]  Despite the tensions on March 23, 2010, President Obama signed a historic healthcare bill into law. 
     The political, social, and economic climate from 2008-2010 sparked several groups and organizations to publically challenge Obama’s presidency.  The first issue to surface about Obama was accusations that claimed the President was not a United States citizen.  Although the campaign had previously presented Obama’s birth documents in 2007, those who opposed his presidency made attacks on Obama’s citizenship.  Some of the accusations included claims that Obama was born in Kenya and produced counterfeit documents in Hawaii about his birthplace.  A remarkable aspect with Obama’s biographical information is his mixture of race.  His father, an African-American from Kenya, and his mother an American from Kansas gave Obama a diverse ethnic background. 
     The media also contributed to the heighten fear surrounding Obama’s character.  Shortly, news outlets began accusing Obama of being a Muslim, a Marxist, a radical, a revolutionary, a socialist, a communist, a thug, a mobster, a racist, an agent of voter fraud, a black-power advocate, an anti-Semite, an enemy of Israel, an associate of terrorists-even the antichrist.[10]  Public figures such as Michael Savage fired attacks claiming, “Obama was hand picked by some very powerful forces within and outside the United States of America to drag this country into a hell that is has not seen since the Civil War.”[11] Furthermore, popular political talk show hosts like Rush Limbaugh, Bill O’Reilly, and Glenn Beck fueled public hatred toward Obama.  All of these examples helped shape the political atmosphere within American politics.  The contemporary landscape of American politics is headed in a direction of hostility.  One group that has contributed to this shift is the LaRouche Political Action Committee. 

LaRouche Political Action Committee:
     The LaRouche Political Action Committee has created a movement within the U.S. to impeach President Obama.  The LaRouche organization is centered on the theme of “Rescuing the World’s Economy.”  The founder of the PAC is no stranger to politics.  Lyndon LaRouche’s career entails eight presidential election attempts along with serving prison time for mail fraud and tax code violations.  It is no simple task to provide a historical account on LaRouche’s career and his PAC.  Steve Hensley of National Public Radio comments, “Lyndon LaRouche has been on the fringes of American politics for decades.  We’re not quite sure how to describe the highly personal political lens he brings to bear on the world.”[12] 
     The LaRouche PAC has a long history with American politics.  To develop an understanding of the organization’s goals and purpose, we need to examine their political philosophy.  The LaRouche organization believes:

We the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tranquility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to ourselves and our Posterity, do ordain and establish this Constitution for the United States of America.[13]

The constitution established by the LaRouche PAC contains principles and ideals of basic American values such as liberty and justice.  It also provides the foundation for the organizations political philosophy.  The LaRouche foundation has recently rooted their advocacy for the impeachment of President Obama based on the violation and neglect of these basic American principles. 
     In 2009, the LaRouche PAC introduced public attacks on Obama’s presidency with a desire to have him impeached from the White House.  What began as a disagreement on Obama’s healthcare reform policy, quickly spiraled into associating Obama to the legacy of Adolf Hitler.  According to LaRouche:

President Barack Obama’s stated intention, to shut down and destroy the NASA program is at root, when added to the Hitler like health-care policy, and the general, destructive features of all other leading politics, is one step too far to bear.  There is no longer room on this planet for a United States and President Obama to occupy the same space.[14]

The LaRouche PAC has produced several documents to circulate this message.  It can be easily found on any of the organizations documents such as brochures and on the website larouchepac.com.  On the website, users can click on the “Impeach Obama” tab to view this message and an image of Obama with a Hitler mustache.  Furthermore, a message from Lyndon LaRouche claims, “The need for Obama’s ouster, either by resignation or impeachment is now an existential issue for both our republic and the welfare of the planet generally.”[15]  While the LaRouche PAC clearly demonstrates the power of visual rhetoric and public memory on the contemporary political landscape, the association to Hitler needs further exploration. 
     The use of imagery to identify Obama’s political figure with Hitler is a potentially harmful and dangerous rhetorical strategy.  The history of Hitler’s attempt for world power along with his malicious attack on Jews, Blacks, and other minorities is a chilling thought for many people.  Adolf Hitler is recognized as an evil genius that engineered the greatest single human tragedy the world has ever known.[16]  Images of Hitler represent layered meanings with the horrific events of the Holocaust and Nazi ideology.  Historians agree on Hitler’s ability to understand “psychology of the masses” and warn against his talents to manipulate the general-public.[17]  Therefore, imagery of Hitler in a political context creates a legitimate concern about a dangerous dictator who is capable of mass murder. 
     Hitler imagery in contemporary visual politics has created a stir about the practice of politics.  Although differences and divide among political parties and ideologies has always existed and will continue to exist, it raises vital questions about visual rhetoric and public memory.  David Harris, President of the National Jewish Democratic Council frames the question: “Are Nazi and Hitler comparisons—and invoking imagery—ever acceptable in political discourse?”[18]

This questions only begins to spark my interest in the Obama-Hitler image and will continue to drive my research and future scholarship on the subject of visual rhetoric and public memory. 


[1] Neuman. J.,”Obama risks egg-throwing in trip to Texas A&M.” October 16, 2009.www.latimesblogs.com (accessed September 28, 2010). 
[2] Molitor, J.,"Obama 'carnival' turns into protest." October 30, 2008.www.thebatt.com (accessed September 28, 2010).
[3] Von Drehle, D., "Why History Can't Wait." Time, December 17, 2008.
[4] Madigan ,C.M., Destiny Calling: How the People Elected Barack Obama. Chicago: Ivan R. Dee, 2009.
[5] Pederson, C., Obama’s America.  Edinburgh: University Press Ltd, 2009. 
[6] Hollihan, T.A.. Uncivil Wars: Political Campaigns in a Media Age. Boston, Bedford/St. Martin’s, 2009. 
[7] Ruane, M.E. & Davis, A.C.. "D.C.'s Inauguration Head Count: 1.8 Million." The Washington Post (2009).
[8] Hulse, C.. “Obama is Sworn in as the 44th President” The New York Times (2009). 
[9] Excerpt is from Republican Governor of Minnesota, Tim Pawlenty, who appeared on “Good Morning America” on March 23, 2009.  For more information: Khan, H.. “Obama Signs Health Care Bill Today as GOP Challenges Constitutionality” ABC News (2010).    
[10] Massing, M.. “Un-American: Have you listened to the right-wing media lately?” Columbia Journalism Review. 2009: p. 14-16.
[11] IBID, p. 15.
[12] Hensley, S., "Barney Frank Unleashed at Town Hall." August 19, 2009.www.npr.org (accessed September 28, 2010).
[13] “The LaRouche Plan” as described on the website: www.larouchepac.com
[14] The following passage is from a 2009 LaRouche brochure on healthcare reform.  The back cover of the brochure displays an image of Obama with a Hitler mustache and is accompanied by the text.  The information can also be found at the www.larouchpac.com website under the “Impeach Obama” section. 
[15] LaRouche, L.H., "Why Obama Must Be Impeached." February 3, 2010. http://www.larouchepac.com/node/13385 (accessed September 28, 20108, 2010).
[16] Matanle,I., Adolph Hitler. New York: Crescent Books, 1983.
[17] Kershaw, I., The ‘Hitler Myth’ Image and Reality in the Third Reich. New York: Oxford University Press, 2001.   
[18] Harris, D.A., "Are Obama-Hitler Comparisons Okay?." August 6, 2009. www.huffingtonpost.com (accessed September 28, 2010).

Friday, September 24, 2010

Critical Rhetoric and Telos


Recent scholarship in rhetorical studies examines the role of the critic and questions the involvement of telos with criticism.  This question offers an opportunity to explore the critics’ position in terms of responsibility and obligation.   

First, let me explain the issue at hand.  Telos is a term that derives from the Greek language and literally means “goal” or “purpose.”  In rhetorical criticism, telos can viewed as an underlying motive or intention.  Sloop and Ono (1991) suggest “an orientation toward criticism that acknowledges the contingent nature of meaning formulation.  Critics have a state in the critical act itself and therefore should describe their purpose through telos” (p. 48). 

Furthermore, the practice of telos with our criticism has the potential to offer scholarship in the form of advocacy and activism.  Ono and Sloop argue, “Critique is enhanced when the critic admits a position within a cultural context and realizes that benefits can be reaped from relinquishing skepticism from time to time during the critical process” (p. 50). 

As critics, is it our responsibility to advocate particular viewpoints with our scholarship?  Does this approach hinder the critical process?  The critic can only answer these basic questions at the end of the day.   However, I do encourage the readers of Richardson’s Rhetoric to reflect upon these questions. 

For further reading on the telos and critical rhetoric: 

Ono, K. A., & Sloop, J.M. (1992). Commitment to telos-a sustained critical rhetoric. Communication Monographs , 59, 48-60.

Thursday, September 16, 2010

The Intersection of Public Memory and Visual Politics

The Intersection of Public Memory and Visual Politics

How to find a rhetorical artifact:


As I prepare to finalize an idea for the semester paper in rhetorical methods, a question has surfaced.  How does a critic find a “text” to analyze? 

I ask this question because I find value in discussing the various ways critics select rhetorical artifacts to study.  Personally, I am torn at the whole process. 

I’ve always felt a tension between theory and artifact with rhetorical criticism.  Sometimes I question the relationship between the two components and if there should be a preferable method of developing a paper topic. 

I find the selection process to be a complicated decision due to the long and lengthy attachment that comes with rhetorical criticism. 

Thus, I ask the rhetorical community to share ideas and thoughts on their personal approach to finding a text.  

Thursday, September 9, 2010

Descriptive Rhetoric

Franklin Delano Roosevelt’s “Pearl Harbor Address to the Nation” is a significant speech in American public address.  The speech functions to inform the American people of the events on December 7, 1941 with a compelling narrative.  The narrative paints a description of America and Pearl Harbor as a victim.  The victim mentality enabled FDR to use identification to identify Japan as a common enemy.  Through a victim mentality, FDR is able to construct a polarized view of international relations with Japan with an emphasis on “peace” and “war.”  These competing descriptions concerning national security assisted FDR to justify the declaration of war.  The speech illuminates the ability of political discourse to define a trajectory with American politics during a wartime crisis.  The American people are encouraged to support the notion of war as a redemptive solution and are promised an “absolute victory.”   

Tuesday, September 7, 2010

Introduction


Mario Cuomo’s 1984 Democratic National Convention speech titled, “A Tale of Two Cities,” sparked my interest in the art of rhetorical criticism.  The speech illuminated the power of language to create a vivid image of American politics. 

Rhetorical criticism offers theoretical tools to interpret the world of language.  The art of studying rhetoric provides insights into human motives with verbal, textual, and visual forms of discourse.

The purpose of Richardson’s Rhetoric Blog is to investigate methods of rhetorical criticism.  My goal as a rhetorician is to discuss and invite questions for consideration about rhetorical criticism.  More specifically, Richardson’s Rhetoric seeks to understand two basic questions:

1.   How can rhetorical criticism continue to grow and flourish with interdisciplinary method approaches? 

2.   What are the “multiple” roles of the critic?

These questions are the foundation for Richardson’s Rhetoric Blog.  Each week I will explore new issues and post thoughtful discussions about rhetoric.  Please join me on my academic journey through the world of language and criticism.