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The gendered rhetorical constraints imposed on female writers in mid-nineteenth-century letter-writing manuals are challenged by the representations of letter writing in Susan Warner’s  The Wide, Wide World and Maria Cummins’s The Lamplighter, popular mid-century novels. By investigating imaginative literature by women as a site of women’s rhetoric, feminist historians of rhetoric can recognize that the battlefield for expanding women’s rhetorical agency in the mid-nineteenth century is not primarily located at the division between domestic and public realms—the site emphasized in current histories of women’s rhetoric—but is interior, where letter-writing rhetorics seek to police habits of mind.

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Because hybrid first-year college writing programs are an emerging phenomenon, it is important for composition specialists to identify their potential strengths and possible disadvantages. The author reviews the various forms that such programs have taken so far, and she engages in an extended critique of one particular institution’s model, questioning especially its claims to objectivity.

Teaching films like Crash gives teachers and researchers the opportunity to discuss films as social texts that engage students in critical thinking and self-reflection. This particular movie is especially effective in its use of a pulp-fiction visual rhetoric. Unfortunately, the film equates and replaces the term “race” with the term “prejudice” and then argues that everyone is a little prejudiced. The result is a missed opportunity to investigate whiteness as a powerful social construction.

Examining a range of visual images of executions, both legal (the executions of convicted murderers) and extralegal (the lynchings of innocent African Americans), in still photographs and in Hollywood films, the authors suggest that while such images may flatten and neutralize the popular debates and politics surrounding the issues, this is not inevitable, and that if we work at sustaining careful attention to its operations the image is neither self-evident nor doomed to obscure the political.

Seconding Johnathon Mauk’s call in these pages for greater attention to the politics of space, and extending it to the increasingly ubiquitous realities of virtual space, the author argues that course-management software systems such as Blackboard naturalize certain constructions of subjectivity for us and our students in ways inimical to our pedagogical goals. He argues that we and our students should not only be critically attentive to such constructions but should also wherever possible develop our own local, discipline-specific spaces in resistance to the homogenization of space and subjectivity they represent.

Focuses on images of teachers (particularly English teachers) in films. Argues that understanding how society views teachers through the prism of cultural imagination can productively challenge the profession to create its own pedagogical images. Suggests that, although these films depict the teacher’s sexuality to define its proper limits, the drama of eroticized teaching obscures larger concerns over classroom politics.