This essay analyzes Alonzo Earl Foringer Foringer, Alonzo Earl. “The Greatest Mother in the World” [1917?]. Photograph. Retrieved from the Library of Congress, Web. [Google Scholar]’s “Greatest Mother in the World” poster, created for the American Red Cross during World War I but circulated in Britain and America during World War I and II. Although the image was highly circulated and reproduced, it has received limited scholarly attention. The analysis examines the poster and a magazine image with accompanying text from a visual rhetoric perspective. The essay argues that the poster and magazine image deploy rhetorics of motherhood and saliency to foster “flattening effects” that not only erase other maternal figures but also elevate ideologies of white supremacy.

This article examines a digital map depicting paratransit in New York City as an example of work that, in not taking into account how impositions of visibility might impact vulnerable populations, risks exposing users of paratransit to the gaze of more powerful lookers. Building on the literature of maps coming out of visual studies, rhetorical studies, and technical communication, this examination shows how maps, as modes of visual communication, participate and extend a dominant visual culture that too often extends power into the spaces and places populated by vulnerable populations. It concludes with recommendations for how to avoid these exposures.

Integral captions and subtitles are specific forms of captions and subtitles that are designed to be essential elements of videos in coordination with sound, signs, and other modes of communication. Integral captions reflect the importance of embodied rhetorics in Deaf culture, particularly in the kinetic language of ASL and Deaf Space design practices. Designing a (Deaf) space for integral captions that embody multimodal and multilingual communication is an essential multimodal literacy practice that benefits d/Deaf and hearing composers and viewers. Five criteria that characterize integral captions provide instructors and scholars with a tool for captions and embodied rhetorics.

Look: a Painted Stick, a Spoon, a Conch Shell, a Dirty Sock, and a Can o’ Beans were traveling in an Airstream turkey to Jerusalem. This is not the gambit to a joke. Instead, it is a basis for appr...

AbstractArtist Andrea Desző’s embroideries, inspired by the Romanian traditional sampler, belong to the material turn in cultural and feminist studies. Based on a comparison with first-wave feminist ideas in Charlotte Perkins Gillman’s Women and Economics, this analysis interrogates what embroidery—as a form of discourse—tells about the little-known Eastern-European woman’s condition. In the region significantly different from Western Europe in both postcolonialist and post-Marxist analyses, these artifacts reveal the ambivalent condition of women situated at the intersection of tradition, feminist thought, and Marxist practice, after Marxist-led governments had provided women with a workplace and equality, at least in theory. Additional informationNotes on contributorsAdriana Cordali GradeaAdriana Gradea is a PhD candidate in English studies at Illinois State University, specializing in rhetoric and cultural theory. She graduated from “Romulus Ladea” Visual Arts High School in Cluj-Napoca, Romania. She has a BA from “Babeş-Bolyai” University, Cluj-Napoca, Romania, a Graduate Certificate in Advanced International Studies from The Johns Hopkins University in Bologna, Italy, and an MA in English from Bradley University. Her research and teaching interests are in feminist and visual rhetorics, as well as Marxism, postcolonialism, and posttotalitarian approaches.

Abstract Disability disclosures in academic scholarship raise questions about possibilities of rhetorical agency. This article engages performances of disability disclosure and recent theories of rhetorical agency to show such disclosures as the culmination of recurring processes in which past experiences are brought to bear on a present moment as people recognize opportune moments for action. Notes 1 Thanks to Scot Barnett, Brenda Brueggemann, Cynthia Lewiecki-Wilson, Margaret Price, and Amy Vidali for helping me develop this project. Especial thanks to Theresa Enos for her editorial guidance and to RR reviewers Jay Dolmage and Debra Hawhee for their thoughtful and valuable reviewers' reports. 2 I mean this in two ways: both literally in a different place—at different institutions and locations in different parts of the country—but also in terms of my place in scholarly experience, ranging from graduate school to being in my fifth year as an assistant professor. 3 Importantly, Price has recently revised her discussion of "kairotic space" to include what she calls "tele/presence" in order to acknowledge exchanges that occur even when participants are not physically present with one another (Yergeau et al., "Multimodality"). 4 This essay also appears in a slightly revised form as chapter 5 in Mad at School.

In recent years multimodal and multimedia have become buzzwords with substantial cache in composition circles. As Clair Lauer outlines in “Contending with Terms: ‘Multimodal’ and ‘Multimedia’ in th...

Artist Graham Robertson referred to British performer Ellen Terry (1847–1928) as the “Painter's Actress.” Many nineteenth-century female performers benefited from relationships with fine art, using the image on the canvas as a vehicle for combatting stereotypes surrounding women in the theater. In aligning herself with the bohemian Pre-Raphaelite aesthetic, Terry established respectability through fine art and offered a feminine persona that was a powerful alternative to domesticity. Cultivating this persona not only through paintings but also through photographs and textual representations, Terry suggests the ways in which women could employ multimodal arguments to secure their place in the public sphere.

Rhetoric-composition's recurring captivation with emergent brain research is sustained not only by the persuasive visual rhetoric of neuroscientific research but also by the conceptual and terministic overlaps that exist between the fields of rhetoric-composition and neuroscience. While these overlaps suggest ways research in brain science can usefully contribute to work in our field, they also instigate seductively simple “solutions” to the “problem” of epistemological uncertainty. Our neurorhetorical methodology preempts the reductive uptake of neuroscientific research while simultaneously motivating a cross-disciplinary reciprocity conducive to the goals of rhetorical inquiry and responsible writing pedagogy.