This article investigates the contribution visual rhetoric and rhetorical genre studies (RGS) can make to health care education and communication genres. Through a visual rhetorical analysis of a patient record used in an optometry teaching clinic, this article illustrates that a genre's visual representations provide significant insights into the social action of that genre. These insights are deepened by an insider analysis of the patient record that highlights how content analyses of visual designs need to be elaborated by contextual considerations. A combined visual rhetoric and RGS analysis shows that clinical novices learn to interpret the record's visual cues to safely traverse the complex requirements of this apprenticeship genre. The article demonstrates that visual rhetoric research can meaningfully contribute to the understanding of genres by presenting an enriched contextual analysis achieved by consulting with context insiders.

Scholarly conversation within the field of professional communication increasingly has focused on the practice, research, and pedagogy of visual rhetoric. Yet, visual thinking has received relatively little attention within the field. If our programs produce students who can think verbally but not visually, they risk producing writers who are visual technicians but are unable to move fluidly between and within modes of communication. This article examines the literature and pedagogical practices of visually oriented disciplines to identify strategies for helping students develop the ambidexterity of thought needed for the communication tasks of today's workplace.

Expectations for a book in its 6th edition are relatively high: it must have more than casual merit to garner continued editions, and this book meets most expectations quite nicely. Structure, content, and presentation combine for an effective text for those practicing technical communication (or pursuing the educational prerequisites for such a career plan). Some of the topics covered include: resources for technical communication; visual communication; workplace literacy; collaboration and ethics; document design; the need for good definitions; description; instructions, procedures, and process explanations; the different types of reports; letters, memos, and email; and career communication (a.k.a. resume writing) and oral presentations. The text is well written and should prove useful to the practicing technical writer, regardless of the particular industry in which he or she is employed. It will be referred to on a regular basis.

This article reports the results of a survey of professional writers about the nature and importance of visual communication in their work. The results confirm the suggestions in the field's literature that visual communication is important to workplace practice and that the role of the professional writer has expanded beyond the domain of the verbal. Visual communication responsibilities are complex and varied, but the practitioners surveyed typically engage in substantial amounts of design-related work and value visual communication abilities. The data suggest that visual communication should be a curricular priority in professional writing programs.

Abstract This article reports the results of a case study of two maps, produced by the National Marine Fisheries Service and the Natural Resources Defense Council, and their involvement in a federal court case over the deployment of the Navy's low-frequency active sonar. Borrowing from Kress and van Leeuwen's (1996) Kress, G. and van Leeuwen, T. 1996. Reading images: The grammar of visual design, New York: Routledge. [Google Scholar] approach to visual analysis, Turnbull's (1989) Turnbull, D. 1989. Maps are territories, science is an atlas: A portfolio of exhibits, Chicago: University of Chicago Press. [Google Scholar] understanding of the map, and Latour's (1990) Latour, B. 1990. “Drawing things together.”. In Representation in scientific practice, Edited by: Lynch, M. and Woolgar, S. 19–68. Cambridge, MA: MIT Press. [Google Scholar] understanding of how visuals work in social contexts, the article offers an analytical approach to studying maps as powerful visual, rhetorical objects.

Abstract This article reports the results of a case study of two maps, produced by the National Marine Fisheries Service and the Natural Resources Defense Council, and their involvement in a federal court case over the deployment of the Navy's low-frequency active sonar. Borrowing from Kress and van Leeuwen's (1996) Kress, G. and van Leeuwen, T. 1996. Reading images: The grammar of visual design, New York: Routledge. [Google Scholar] approach to visual analysis, Turnbull's (1989) Turnbull, D. 1989. Maps are territories, science is an atlas: A portfolio of exhibits, Chicago: University of Chicago Press. [Google Scholar] understanding of the map, and Latour's (1990) Latour, B. 1990. “Drawing things together.”. In Representation in scientific practice, Edited by: Lynch, M. and Woolgar, S. 19–68. Cambridge, MA: MIT Press. [Google Scholar] understanding of how visuals work in social contexts, the article offers an analytical approach to studying maps as powerful visual, rhetorical objects.

Technical communication textbooks tend to address visual rhetoric as two separate units, usually a chapter on document design and then a chapter on graphics. We advocate teaching a unified system of visual rhetoric that encompasses both text and graphics within a common visual-language system. Using C. S. Peirce's three-part theory of rhetoric and his ten categories of sign, we offer an integrated semiotic system, interpreting in one model the effectiveness of graphics, document design, and formatting, all considered as subtypes in this proposed visual rhetoric, organized around three primary communication goals: to decorate, to indicate, and to inform. Thus, any evaluation of visuals, either textual or graphic, must be made with reference to rhetorical contexts in which audience needs and graphic/textual media choices should align with authorial goals

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.

Most rhetorical readings of Confucius's Analects have focused on his views on eloquence, reflecting an insuppressible impulse among comparative rhetoricians to match Confucian rhetoric to Greco–Roman rhetorical framework. My reading of the text argues that Confucius was more concerned about the suasory power of the multimodality of ritual symbols than narrowly verbal persuasion. To achieve the Way for restoring social unity and peace, Confucius emphasizes the ritualization of both the self and the others through studying history and performing rituals reflectively. I suggest, as the first Chinese rhetoric par excellence, the Analects shares some similar features with epideictic rhetoric.

What do we want students to know, what do we want them to have after completing a series of courses in college English? College English ought to provide students with certain communicative that enable them to ana lyze rhetorical effect and produce rhetorically effective texts, including those to be read, those to be viewed as images, those to be heard, and those not to be heard. Especially exciting is the expanding body of knowledge centered on visual, aural, and silent texts. Within the past five years, new books on visual rhetoric, the rhetoric of silence, and the rhetoric of listening have joined guides to analysis and production of printed texts (see, e.g., Faigley et al.; Glenn; Ratcliffe). This trend signals increasing recognition of the need to develop nondiscursive communication skills, that college English should engage itself in perfecting. I use the term skills unapologetically. Although many in English studies are uncomfortable with the idea that we should teach skills?claiming instead that we teach texts or au thors?I think it is just the right word. Ultimately what students remember about

In this article, I examine a historical information graphic—Charles Booth's maps of London poverty (1889–1902)—to analyze the cultural basis of ideas of transparency and clarity in information graphics. I argue that Booth's maps derive their rhetorical power from contemporary visual culture as much as from their scientific authority. The visual rhetoric of the maps depended upon an ironic inversion of visual culture to make poverty seem a problem that could be addressed, rather than an insurmountable crisis. This visual rhetoric led directly to significant features of and concepts in western societies, including the poverty line and universal old-age pensions (social security).

The author uses the example of a text a student was not allowed to display on his course website to explore how and why institutional ideologies particular to the historical development of composition and creative writing—especially when viewed in conjunction with current copyright law—render students’ multimedia compositions illegitimate. He suggests that the ideological apparatuses of writing instruction and the legal statutes of U.S. culture at large combine to radically restrict the production and circulation of students’ multimedia texts and inhibit students’ power as writers.

In this article, the author demonstrates that the semiotic model proposed by Charles Morris enables us to optimize our understanding of technical communication practices and provides a good point of inquiry. To illustrate this point, the author exemplifies the semiotic approaches by scholars in technical communication and elaborates Morris's model through analyzing visual and verbal elements of technical communication brochures from semantic, syntactic, and pragmatic levels. The discussion of semiotic approach reinforced by various examples illustrates that the semiotic model can be a tangible theoretical and practical tool to help students and practitioners study and analyze the use of visual and verbal elements in technical communication.

"Critical Visual Literacy: Multimodal Communication Across the Curriculum" makes the case for expanding the pedagogical space and communication possibilities in undergraduate communication-intensive and linked (learning community) courses by allowing students to create multimodal texts that deal with civic and cultural and/or discipline-specific themes. We argue that, rather than diluting the opportunities for rhetorical education—now comprised of critical literacy, visual literacy, and critical technological literacy in today's increasingly fast-moving visual and electronic cultural environment—multimodal composing more meaningfully reflects the environment in which students receive and generate text today. Using a theory base that draws from the literatures of composition and CAC, visual literacy, new media theory and ecology, and the theory and pedagogy of critical technological literacy, we make a case for this expansion of communication opportunities in undergraduate communication-intensive classes.

This essay presents a task-based multimodal framework for composing grounded in theories of multiple media and goal formation. By examining the way two students negotiated the complex communicative tasks presented them in class, the essay underscores the benefits associated with asking students to attend to the various motives, activities, tools, and environments that occasion, support, and complicate the production of academic as well as everyday texts.

In this essay, I explore the institutional and intellectual resources necessary to develop, revise, and sustain an outreach initiative involving new media composing with community organizations. A retrospective analysis of one course central to this initiative will be offered to illustrate what I term a praxis of new media. A praxis of new media unfolds at the intersection of critical, digital, and community literacies in order to produce transformative knowledge products with all stakeholders. I argue that particular alignments of material and intellectual resources must be in place if such community literacy projects are to sustain the capacity building of stakeholders.

Reviewed are Eloquent Images: Word and Image in the Age of New Media, edited by Mary E. Hocks and Michelle R. Kendrick; Defining Visual Rhetorics, edited by Charles A. Hill and Marguerite Helmers; The Terministic Screen: Rhetorical Perspectives on Film, edited by David Blakesley; and Tuned In: Television and the Teaching of Writing, by Bronwyn T. Williams.

Florence Nightingale is usually pictured as an angelic nurse tending to British soldiers in military hospitals during the Crimean War. Although Nightingale was indeed a tender of soldiers, she was also an administrator, advocate for the common soldier, and proponent of the use of statistics and information design. This article examines Nightingale's rose diagrams, which she designed following her service as the director of nurses at a field hospital in the Crimean War. When the war ended, Nightingale was asked by the queen to write a report on the poor sanitary conditions and make recommendations for reform. When, after six months, the government did not act on the reforms, Nightingale decided to write an annex to the report, in which she would include her invention, the rose diagrams. Nightingale's ultimate success in persuading the government to institute reforms is an illustration of the power of visual rhetoric, as well as an example of Nightingale's own passionate resolve to right what she saw as a grievous wrong.

This article reports research that attempts to characterize what is powerful about digital multimodal texts. Building from recent theoretical work on understanding the workings and implications of multimodal communication, the authors call for a continuing empirical investigation into the roles that digital multimodal texts play in real-world contexts, and they offer one example of how such investigations might be approached. Drawing on data from the practice of multimedia digital storytelling, specifically a piece titled “Lyfe-N-Rhyme,” created by Oakland, California, artist Randy Young (accessible at http://www.oaklanddusty.org/videos.php), the authors detail the method and results of a fine-grained multimodal analysis, revealing semiotic relationships between and among different, copresent modes. It is in these relationships, the authors argue, that the expressive power of multimodality resides.

This article traces the historical and conceptual development of what is known as activity theory, from Vygotsky and Luria, to A. N. Leont’ev, to Engeström, in order to illustrate what I see as two problems with the activity theoretic approach, especially as manifest in the work of Leont’ev and Engeström: what I call the boundary and/or focus problem and the unit-of-analysis problem. In the second half of the article, I explore the social semiotic of an everyday artifact, the “speed bump,” and introduce a discovery heuristic for examining how this artifact functions mediationally in human activity. In so doing, I have tried to discover activity through principled analysis, rather than assuming activity or activity system a priori.

The recent trend of incorporating more visuals into communication challenges technical communicators, who must now possess both verbal and visual literacy. Despite all the recent scholarship on visual aspects of technical communication, technical communicators lack thorough guidelines for selecting and composing effective images that convey thematic and conceptual information, or what Schriver calls “stage-setting” images. This article reviews existing literature in visual communication and reports results of a study that assessed readers' opinions of themes conveyed by specific example images. It then suggests that the rhetorical tropes of metonymy and synecdoche can be used to identify images for conveying certain themes, and that successful stage-setting images will show intrinsic, not extrinsic, relationships to their thematic subject matter.

Composing hypertext documents can be an enriching path into the world of technical communication. In learning to produce hypertext, students are introduced to an important form of written composition that encompasses not only text generation, but also visual communication and information architecture. In this article, I provide a rationale for teaching hypertext composition and then some specific curricular suggestions in two parts, one for teaching beginners, and one for teaching more advanced students.

What constitutes a cause is a particularly important question for those who teach or study technical writing. This article describes a case that helps students look beyond the technical "causes" of a commuter airplane crash in order to address the complex web of policies, practices, actions and events that contributed to the crash. Using an approach grounded in stakeholder theory and ethical theory, students use real documents ranging from news accounts to FAA policies to NTSB hearing exhibits to identify systemic problems that contributed to the disaster. Working from particular stakeholder perspectives, they work collaboratively to develop and argue for policy changes that will prevent future tragedies. The abundance of real documents that drive this case make it an especially useful tool for engaging students in difficult-to-teach subject matter including the role of writing in the failure of technical systems, deliberative and judicial rhetoric, stakeholder theory, visual rhetoric, and ethics.

Made Not Only in Words: Composition in a New Key is the print version of the multimodal address that former CCCC Chair Kathleen Yancey gave at the 2004 CCCC convention. Discussing the myriad forms and purposes that writing can take today, she asks us to re-examine our beliefs about what writing is and how it should be taught.

Taking the reader on a stroll through the woods to look for the elusive and unclassifiable mushroom, this essay suggests that avant-gardes can present a challenge to our familiar modes of communication in the classroom. The author argues that a truly radical pedagogic practice, corresponding to the theoretical critiques offered by recent trends in the study of rhetoric and teaching, might forestall the real danger represented by teaching the avant-garde, namely that it be domesticated and its radical potential neutralized.

Ernst Haeckel was a fascinating German scientist, philosopher, and advocate of social Darwinism who sought to reinvent science as the basis of all knowledge and best guide for human activities. His monistic and vitalistic philosophy of science influenced later German holistic science and Nazi pseudo-science. Recent research reveals several of his most famous illustrations, of embryos of various animals and that are still published today, to be incorrect and probably knowingly so. The complex rhetorical connection between theory and visual support is revealed, as creationist critics contend that the falsity of the visuals implies the refutation of evolution. We see that our decisions made in crafting illustrations carry serious rhetorical and ethical implications for various audiences.

This essay illustrates key features of visual rhetoric as they operate in two professional academic hypertexts and student work designed for the World Wide Web. By looking at features like audience stance, transparency, and hybridity, writing teachers can teach visual rhetoric as a transformative process of design. Critiquing and producing writing in digital environments offers a welcome return to rhetorical principles and an important pedagogy of writing as design.

Abstract The focus of workplace communication research on visual rhetoric has tended to be the efficient and unproblematically "effective" functioning of visual texts. By suggesting ways in which the visual representations of science are construed by expert readers, this article responds to a call within our discipline for more critically focused contributions to the study of visual literacy. A former editor-in-chief of the American Journal of Botany was asked to explain his interpretation of visuals appearing over an 80-year period in that journal; his responses illustrate how visual explanations testify to their creators' authority and how, once established, such authority actuates the rational arguments of science. Rhetorical appeals within and arrangement of visual texts are considered, as is the persuasive power of legends and captions.

While social constructivist interpretations have advanced a relational, multiple, and fluid conception of identity, one difficult problem involves understanding how identities are stabilized during the course of interaction. This article argues that interactants define and stabilize identity by producing identity artifacts with multimodal means, by constructing configurations of those artifacts, and by using those artifacts to project social space.

In an attempt to bring composition studies into a more thoroughgoing discussion of the place of visual literacy in the writing classroom, I argue that throughout the history of writing instruction in this country the terms of debate typical in discussions of visual literacy and the teaching of writing have limited the kinds of assignments we might imagine for composition.

For too long, journal articles and textbooks on scientific and technical discourse have adopted a positivistic approach to visuals. Unfortunately, this approach is problematic. It ignores that visuals are constructions that are products of a writer's interpretation with its own power-laden agenda. For example, in representing a tamed and dominated nature, visuals become instruments of patriarchy. Reading them responsibly requires that we uncover some of the values attached to the strategies of creating visuals and to the objects created. This article reviews the current approach taken by composition scholars, surveys richer interdisciplinary work on visuals, and—by using visuals connected with the Human Genome Project—models an analysis of visuals as rhetoric.

Using the notion of design developed as part of the New London Group's Multiliteracies Project, this qualitative multicase study examines undergraduate academic literacy as a multimodal achievement game. Retrospective interviews and textual analyses revealed a series of operations on course content that constituted moves in the game. The goal of the game was to find, move, and display content, including not only facts but also concepts and forms of situated knowledge that would gain the highest points on assessments. Better “players” were more aware than their lower achieving counterparts of the game as specific activity different from learning. They also had more nuanced and planned versions of the operations that began with what was expected on assessments and moved backwards toward sources. Findings support forms of preparing students for academic success through the multiliteracies pedagogy that combines consciousness raising through overt instruction with forms of immersion and critical analysis.

This article modifies Donna Haraway's concept of (counter) myth building as a way to facilitate social action. Counter myth building, as both a resource and a process, recognizes limitations on individual agency but foregrounds the productive capacity to be more than a social and historical construct. Because myths are multiple and enactments are unpredictable, both building and enacting counter myths are at best complicated. GirlZone and RadioGirl provide two sites for investigating these complications. As grassroots projects, GirlZone and RadioGirl are explicitly devoted to building counter myths as part of an activist agenda for social change. These sites illustrate how the complex semiotic and material processes of myth building may provide potential resources for these and other activists.

The syntactic aspect of semiotic theory, especially its “aesthetic principle,” is very influential in document design theories and practices. It has its roots in Burke's and Lessing's gender-related theories of images. Thus, it is laden with ideologies: it embodies our patriarchal attitudes and our iconophobia. Employing the semiotic theory in document design, we are making choices to reinforce the gender-related ideology in Burke's and Lessing's theories. It is time for us to re-conceive the “aesthetic principle” by de-emphasizing it and to adopt the reconciliation approach to design effective documents targeted at various rhetorical situations.