Advances in digital media have made an impact on traditional rhetorical culture, thus shifting expectations and norms associated with orality and public presentation. Technology, entertainment, and design (TED) talks represent a new genre of presentation characteristic of Jamieson’s notion of electronic eloquence in that presenters weave together an engaging narrative complete with a strong visual presence. This study applies Bandura’s social cognitive learning theory to explore how students make sense of TED talks. Students responded to two questionnaires in two different classes: a basic public speaking course and a technical communication course. The results suggest that students learn vicariously through viewing mediated presentations, thus shaping their view of public speaking as a coproduced, networked, and engaging narrative. The authors offer recommendations for communication practitioners related to electronic eloquence and the rhetorical tradition.

This article examines the oral communication training that took place in Eloqi, a virtual language-learning community. Eloqi (a pseudonym) was a for-profit start-up that built and operated a proprietary Web-based, voice-enabled platform connecting English-language learners in China with trainers in the United States. While it existed, Eloqi’s unique platform was used to deliver short, one-on-one lessons designed to improve students’ oral English communication skills. Using the ethnography of communication and speech codes theory, a theoretical–methodological approach, the author presents an analysis of the speech code, or code of communicative conduct, employed at Eloqi. This code of English logic, which Eloqi’s community members associated with native English speech, comprised six locally defined rules for oral English speech; namely, speech had to be organized, succinct, spontaneously composed rather than rehearsed, original and honest, proactively improved, and positive. This article discusses the significance of this code, particularly as it pertains to cultural communication, and concludes with some implications for researchers and practitioners in business and technical communication.

This study explores the intersections between facework, feedback interventions, and digitally mediated modes of response to student writing. Specifically, the study explores one particular mode of feedback intervention—screencast response to written work—through students’ perceptions of its affordances and through dimensions of its role in the mediation of face and construction of identities. Students found screencast technologies to be helpful to their learning and their interpretation of positive affect from their teachers by facilitating personal connections, creating transparency about the teacher’s evaluative process and identity, revealing the teacher’s feelings, providing visual affirmation, and establishing a conversational tone. The screencast technologies seemed to create an evaluative space in which teachers and students could perform digitally mediated pedagogical identities that were relational, affective, and distinct, allowing students to perceive an individualized instructional process enabled by the response mode. These results suggest that exploring the concept of digitally mediated pedagogical identity, especially through alternative modes of response, can be a useful lens for theoretical and empirical exploration.

Idea generation is an important component of most major theories of writing. However, few studies have linked idea generation in writing samples to assessments of writing quality or examined links between linguistic features in a text and idea generation. This study uses human ratings of idea generation, such as idea fluency, idea flexibility, idea originality, and idea elaboration, to analyze the extent to which idea generation relates to human judgments of essay quality in a corpus of college student essays. In conjunction with this analysis, linguistic features extracted from the essays are used to develop a predictive model of idea generation to further understand relations between the language features in an essay and the idea generation scores assigned to that essay. The results indicate that essays rated as containing a greater number of ideas that were flexible, original, and elaborated were judged to be of higher quality. Two of these features (elaboration and originality) were significant predictors of essay quality scores in a regression analysis that explained 33% of the variance in human scores. The results also indicate that idea generation is strongly linked to language features in essays. Specifically, the use of unique multiword units, more difficult words, semantic but not lexical similarities between paragraphs, and fewer word repetitions explained 80% of the variance in human scores of idea generation. These results have implications for writing theories and writing practice.

Abstract This essay investigates the authenticity of Geraldine Hoff Doyle’s widely accepted status as the model for the World War II–era “We Can Do It!” poster. After considering the rhetorical nature of the so-called woozle effect, the analysis endeavors to counter this particular woozle by plotting a reverse narrative. Taking the form of a quest that moves backward through a metaphorical forest of visual rhetoric, the essay initially traces the sources of Doyle’s tale into the recent past and, subsequently, into the original visual context. At length, it debunks Doyle’s claim while identifying Naomi Parker as a previously unknown figure in the controversy surrounding the poster.

Abstract This article examines how rhetoric about Franklin Delano Roosevelt’s Scottish terrier, Fala, contributed to the president’s public image. I argue that Fala’s presence further enhanced FDR’s more personable presidency by highlighting the president’s warmth and humanity. To demonstrate this claim, I perform a close textual analysis of archival evidence from the FDR Presidential Library and two Metro-Goldwyn-Mayer shorts. Presidential pets thus provide presidents with important sources for fashioning their public image.

Abstract The U.S. news media’s heavy circulation of images of dead soldiers returning home from Vietnam in “body bags” is frequently offered as an explanation for the state of popular political disaffection with war commonly called “Vietnam Syndrome.” We argue that the rhetoric of Vietnam Syndrome misdiagnoses dissent against war as a photo-pathogenic affective disorder, a visually transmitted disease of the popular political mind. In their respective attempts to stave off the syndrome, Presidents George H. W. Bush and George W. Bush enacted visual quarantines of deceased U.S. soldiers—first in 1991 and again in 2003. Our analysis suggests that President Obama’s lifting of the ban in 2009 represented not only a more precise grasp of U.S. war history but also a cynical recognition of the limited need for popular assent in executing the war on terror.

Abstract In the decades after the Civil War, countless Americans saw the bloody conflict as some kind of message from God. These perceptions created a problem for the preeminent Republican orator of the day, Robert Ingersoll, who was also a fierce opponent of revealed religion. In speaking for the Republican Party during Reconstruction and the Gilded Age, Ingersoll managed to interact successfully with religiously structured memories of the war while maintaining his reputation as the Great Agnostic. This essay explores how he was able to do so. Drawing on Kenneth Burke’s work on the rhetoric of religion, I argue that Ingersoll interacted with Civil War memory by redirecting supernatural terms to natural and sociopolitical contexts. In so doing he imbued political culture with a sacred character that allowed believers, nonbelievers, and people of various persuasions to participate in memories of the war. In the end, Ingersoll’s oratory modeled a “pluralistic civil religion,” which employs religious language for civic ends but eschews references to the divine as a way of accommodating a range of beliefs.

Geocomposition engages students in writing on the move in order to explore how such writing composes the multiple layers of public places. This article describes a collaborative, location-based composition project designed for students to rhetorically engage a responsive public through locative media: media that work in and through specific sites. View a brief video abstract: Geocomposition in Public Rhetoric and Writing Pedagogy

AbstractThis article examines how rhetoric bears on Hegel's presentation of comedy. Although comedy succeeds tragedy in his catalogue of “romantic” arts, Hegel says little about it, a paradox mirrored in the secondary literature. Moreover, while Hegel's dialectic attests to his education in rhetoric in its staging of the multivalent image and its tracking of ironic, chiastic reversal of significance, the Aesthetics downplays any such performative element. I note Hegel's praise of Aristophanes, at odds with the dominant line of New Comedy: following the romantics, Hegel foregrounds human subjectivity in both action represented and audience reception. I summarize his position and then contrast its thematic bias with the Phenomenology's attention to form and pragmatics. Comedic discovery of self in “Art-religion” (chapter 7) prefigures self-presentation in the philosophical Idea, and confirms Hayden White's filing of Hegelian historiography under comedy. Anticipating Bergson, Hegel locates comedy on the margin between art and life, as philosophical regard merges with its object.

Contact zones are useful for literacy research because they foreground the contexts that recent decades of literacy studies scholarship have deemed essential: history, orality, language difference, and power, with an emphasis on interaction rather than divides. While literacy studies has demonstrated the importance of these contexts for understanding literacy, there is not yet a model that organizes them into a framework for research. Compositionists have paved the way for understanding contact zones not just as spaces to observe and describe but also as spaces in which challenging learning and instruction can occur. In a contact zone, different languages interact through writing, reading, speech, and other expressions because of historical circumstances and with greater and lesser privileges afforded to them on account of these historical circumstances. A literacy contact zone approach calls for researchers to account for the oral, linguistic, historical, and differential power contexts for the literacy phenomenon under investigation.

Reviewed are: Redesigning Composition for Multilingual Realities, by Jay Jordan, Reviewed by Jessie Casteel, Ben Good, Katherine Highfill, Elizabeth Keating, Rose Pentecost,Nidhi Rajkumar, Rachael Sears, Georgeann Ward, and Maurice WilsonSecuring a Place for Reading in Composition, by Ellen C. Carillo, Reviewed by Ronna Levy

Textbooks are commonly used to teach English in Africa, and most often are designed either by Westerners who are native speakers or by the Western-trained educators who took over the education of Africa’s children after colonialism. The issue is whether these educators can emancipate learners through the curricular choices they make in the versions of textbooks endorsed by their governments. Unfortunately, this is not the case. This article examines the content of nonfiction passages in four textbook series that have been used or are currently in use for English language and literacy education in Anglophone Cameroon to understand the shift in educational philosophies that might have occurred between the colonial period of the first textbook and the modern globalization period of current textbooks. It also questions the criteria for selection of passages to be included in these textbooks and their possible ramifications for learners’ identities as Africans,Cameroonians, and global citizens. Informed by postcolonialism, with a particular bent toward decolonial theory, the study utilizes content analysis, a qualitative research method that validates textual interpretations through inference (Krippendorf, 2004) and that seeks to understand meanings embedded in texts and their sociocultural/political significance. Findings reveal that while the Oxford English Readers for Africa of the colonial times are long gone, this series’ ideology of white superiority lingers in contemporary textbooks. They also reveal that there is an attempt to standardize cultural practices and belief systems based on Western models. This draws attention to minority rights, reminding educators to acknowledge pluralism in their literacy practices.

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...

Both creative writing and composition seek to teach writing, yet their pedagogical approaches are poles apart, especially concerning instructors. Creative writing instructors serve as “mentor-models,” whose authority comes from their writing practice rather than (only) departmental sanction. Despite potential pitfalls, a mentor-model approach could reaffirm composition instructors' identities as writers.

At 10,938 lines, Elizabeth Barrett Browning's Aurora Leigh would seem unsuited for the present-day classroom, with its focus on short, simple texts adapted for readers with little experience of long poems. Yet it teaches quite readily and, indeed, is often a student favorite. This article emphasizes the multigeneric quality of Browning's epic and the advantages of presenting its successive layers. The poem functions as a veiled autobiographical narrative of development, a fast-paced novel plot centering on gender and class relationships, and a closet drama utilizing features of the contemporary stage. Other aspects of the poem include its appeal as a travel narrative, as Aurora responds to European sites still unfamiliar to many of Browning's readers, and its self-reflexivity as a critical treatise on poetics, as Aurora attempts to enunciate the principles that have guided the poem's author. Certain aspects of the poem's imagery and characterization are especially effective in prompting classroom debate; among these are the ideologically laden symbols of a burned aristocratic manor, a blinded hero, the final vision of a New Jerusalem, and the remarkable portrayal of the aggrieved seamstress Marian, who protests her victimization by rape and rejects marriage with an upper-class suitor.

Students in freshman composition classes often assume that the goal of college writing is to sound like someone else, so they struggle to frame their own questions in response to the world around them. This article analyzes the potential for student-driven learning to redress this problem. It focuses on a team-taught freshman composition course that asked students to collaborate in designing a section of their curriculum. The article argues that control over the curriculum inspired many students to push themselves intellectually and adopt the roles of teachers. On the other hand, increased autonomy sometimes disempowered students who had not yet acquired skills to assess their own strengths and weaknesses and who thus reverted to oversimplified ideas or avoided actively taking on responsibilities. If agency constitutes the power to carry out effective action, this course illustrated the capacity of autonomy both to foster and to subvert student agency.

This article offers an innovative pedagogical technique for teaching students to think critically and analytically about race, especially for student populations most accurately characterized as white and middle class. I illustrate this technique by relating my experiences designing and teaching a first-year writing course called the Monstrous and the Human at the University of Delaware. The concept of monstrousness and the problem of race may at first appear unrelated, yet this is precisely the strength of the course, which relies on a method of defamiliarization. Course readings begin by exploring monstrousness in Victorian science fiction novels, such as Mary Shelley's Frankenstein, and then shift to a study of how conventions of these novels recur in novels that examine race in American society, such as Harper Lee's To Kill a Mockingbird. In combination with class discussion and course writing assignments, this reading progression invites students to see race from a new perspective. In this article I share my reasons for creating this course, detail its assignments, and show how the course can help students expand their understanding of race in American society. I argue that by teaching race through defamiliarization, we encourage students to arrive at their own understanding of race and racism without inculcating our own beliefs.

This article introduces a roundtable on teaching long poems by British women writers, presented as a special session at the 2014 Modern Language Association conference in Chicago. The articles in the roundtable provide teaching strategies that are pertinent to the writers under review but can easily be extended to many more writers and works. The resistance of students to long poems by any poet, much less by women, reveals that professors still have much work to do in establishing lesser-known women writers as coequal with their better-known male contemporaries. This resistance is a teaching opportunity to address issues of genre, gender, and canonicity. In a larger sense, the articles argue for the potential of pedagogical practice to reconstitute the canon.

This article depicts a multimodal approach to teaching Charlotte Smith's Beachy Head that has proved successful in a sophomore-level survey. As a greater romantic lyric fragment of twenty-one blank-verse paragraphs with sixty-four footnotes and two embedded rhyming poems by the “stranger” poet, Beachy Head poses many difficulties for students. Ruwe identifies student difficulties with the poem's form and content and suggests practical methods for overcoming these barriers. She provides a reading guide to the poem's various sections and suggests ways to help students experience the poem's auditory, visual, gestural, spatial, and linguistic design through a process akin to reverse engineering. The article includes student responses, handouts, and links to useful websites for a multimodal approach.

Drawing from the author’s experience teaching online technical communication courses with an embedded service-learning component, this essay opens the discussion to the potential problems involved in designing online service-learning courses and provides practical approaches to integrating service learning into online coursework. The essay addresses specifically those classrooms where students may be required to develop or find their own service opportunities, whether those opportunities are within their community, on the college or university campus, or in another community. The essay argues by implementing service learning into online classrooms and requiring students to locate their own agencies, students not only build a greater sense of civic engagement because they are working with agencies whose missions they support, but also they develop a greater sense of responsibility for their own education and the coursework they undertake.

Corporate documents increasingly rely on visual rhetoric to complement text. Although previous studies have indicated that companies’ local culture may be reflected in the images they employ, scholars have never systematically investigated the use of visual rhetoric as it is used across different business cultures. This study analyzes visual rhetoric using a new model of visual metadiscourse—a set of devices that designers use to convey meaning in order to influence the audience’s interpretation of the text. The study compares the visual metadiscourse in photos used in English management statements in the annual reports of Dutch and U.K. companies. The results show that metadiscourse is inherent not only in the written text of a corporate document but also in the visuals that a design team chooses to include. The results also indicate that despite some similarities, Dutch-based and U.K.-based statements contain differences in their use of visual metadiscourse. Several of these differences can be attributed to cultural differences between the Netherlands and the United Kingdom. The study underlines the applicability of the new model and warns international text designers not to overlook cultural differences in visual metadiscourse.

Even as deficit model science communication falls out of favor, few studies question how written science communication constructs relationships between science and industry. Here, I investigate how textual microprocesses relate scientific research to industry practice in the Washington State wine industry, helping (or hindering) winemakers and wine grape growers in making research relevant to their work. Critical discourse analysis of a corpus of wine science texts suggests that textual microprocesses continue to enact a deficit paradigm: scientists as knowledge producers and the industry public as knowledge deficient. Through its extension of features of scientific discourse, the industry-oriented literature abstracts research practices from context which could aid in drawing relationships with industry practices. In aggregate, these texts suggest an opportunity to increase research relevance to industry practice by writing the research–industry relationship differently, recontextualizing research in practice.

Applying data from surveys and interviews, the authors examine why many experienced two-year college English faculty give up assigning group projects. They then propose a model of group training developed in the field of business management that aims to prevent many of these difficulties—the self-managed work team.

Abstract In 1953 a Hollywood-based U.S. Air Force film studio, Lookout Mountain Laboratory, produced a documentary film about America’s first detonation of a thermonuclear device, the 1952 “MIKE” device. The film, called Operation Ivy, was initially shown only to the highest-level government officials, but a later, edited version was eventually released for public distribution. We argue that the story of Operation Ivy illuminates not only the ways in which the rhetoric of the “Super” was managed but also the way in which the Cold War state was both subject to and productive of political and aesthetic sensibilities.

What does a twenty-first-century writing pedagogy look like? What principles should undergird contemporary writing pedagogy and practice? How should writing teachers today design writing courses, motivate student engagement, and promote literacy practices? Each of the five books reviewed here takes up these questions in calling for sensitivity and care in understanding students and the many ways that they are positioned in the world, for more attention to reading pedagogy in conjunction with writing, and for the continued study of transfer.

In this essay, I argue that contemporary efforts to advocate for job security for teaching-track faculty in English studies, especially in composition, can be enhanced by identifying and reconfiguring two types of negative affects: those circulating around the “affective labor” required to teach writing and those circulating around the educational spaces in which such labor typically occurs. After defining my terms, I begin analyzing the impact of these two types of negative affect on calls for teaching-track job security. I then use Grego and Thompson’s “studio” model of basic writing as an example of teaching work that can be used to generate and circulate positive affects regarding the “affective-labor-in-space” performed by writing teachers. Finally, I articulate three premises designed to help articulate and emplace positive affects regarding teaching-track composition work such that possibilities for job security are enhanced.

This article shares our experience designing and deploying writing assessment in English Composition I: Achieving Expertise, the first-ever first-year writing Massive Open Online Course (MOOC). We argue that writing assessment can be effectively adapted to the MOOC environment and that doing so reaffirms the importance of mixed-methods approaches to writing assessment and drives writing assessment toward a more individualized,learner-driven, and learner-autonomous paradigm.

Around 1986, inventional researchers began to presuppose an externalist philosophy of mind, thereby ushering in the postprocess era. Ecological composition and posthumanism,now understood as postprocess inventional models, present direct pedagogical applications, allowing different objects (e.g., databases, search engines) to qualify as writing and favoring rhetorical impact over “originality.”

This article introduces an interdisciplinary service project performed with undergraduate literature students at the University of Idaho in Moscow, Idaho. The project, Literary Flowers, was modeled after New York City's Library Way and challenged students to plant a “literary garden” of formative voices. Further, it encouraged students to consider cultural translatability: how texts—some centuries old—fit into their final narratives today. This article provides a detailed description of the project, a consideration of its place among similar service projects, and examples of student work and response.

Aristotle’s science writing serves as an instance of a classical science writer at work. Applying his theory of writing found in his Rhetoric, Poetics, Posterior Analytics, and Categories treatises to his History of Animals illustrates his work as a writer of life science. As rhetorical tools, his theory of tropes and figures and his theory of the model as developed in his theory of definitions and the enthymeme work as epistemic strategies. The essay concludes that further study should examine other rhetorical dimensions of his science writing.

This article introduces Speculative Usability. Whereas traditional models of usability rely on the salient features of an object–user relationship focused around the uses for which the object was designed, the goal of Speculative Usability is to notice an object as it interacts with other objects (in addition to but including human users) and to be vulnerable to an object’s unintended effects. The payoff of this speculative approach is an increased inventional capacity for usability testing.

Because of the globalized use of the Internet, companies of most countries rely heavily on websites for the sale of their products and services internationally. However, a company’s website, no matter how nicely designed in terms of graphics used and information provided, may still fail to achieve the expected result if it fails to consider the relevant business cultural values and conventions of the target country. This article, in light of American business values and Chinese business values and through case analyses, identifies the possible problems on those websites aiming at international business. Using specific company websites of both the United States and China and through comparison and contrast, the author analyzes problems in aspects of content, graphics, and layout in attempt to improve designers’ cultural awareness in these aspects and improve their skills for the localization of their international business websites.

In this article, the authors confront challenges faced in public planning projects when the desire to implement participatory design is complicated by the need for mass quantities of data. Using one case of participatory design in urban planning, they suggest that planners struggled to effectively employ participatory design methodology because they neglected to collect the tacit knowledge generated through their participatory processes. Coupling participatory design with a listening rhetoric, they suggest that participatory processes that include tacit knowledge and representative citizen participation might augment public planning projects that hope for both big data collection and democratic approaches to urban planning.

Women decide on about 80% of the goods that their household buys. But marketers often sell products, especially technical ones, that are designed by men and therefore are oriented largely toward their needs. Consequently, assembly instructions for these products are also oriented toward men’s needs. To illustrate the impact of gender orientation in assembly instructions, this study investigates whether theoretical cognitive or psychological gender differences have a practical influence on the usability of assembly instructions. This study has direct implications for technical writers who strive for a more universal design for such instructions.

This article introduces apparent feminism, which is a new approach urgently required by modern technical rhetorics. Apparent feminism provides a new kind of response that addresses current political trends that render misogyny unapparent, the ubiquity of uncritically negative responses to the term feminism, and a decline in centralized feminist work in technical communication. More specifically, it suggests that the manifestation of these trends in technical spheres requires intervention into notions of objectivity and the regimes of truth they support. Apparent feminism is a methodology that seeks to recognize and make apparent the urgent and sometimes hidden exigencies for feminist critique of contemporary politics and technical rhetorics. It encourages a response to social justice exigencies, invites participation from allies who do not explicitly identify as feminist but do work that complements feminist goals, and makes apparent the ways in which efficient work actually depends on the existence and input of diverse audiences.

This article reports the results of an experiment that was conducted to determine the impact of media synchronicity theory (MST) training on media-fit behavior, communication quantity, communication quality, and group effectiveness. MST training introduces students to a framework for assessing a media’s capabilities and matching those capabilities to a particular task. From three technical communication courses, 80 participants were randomly divided into two groups and compared using a between-subjects design. The MST training group reported significantly higher levels of media-fit behavior, communication quantity, and the communication-performance qualities of discussion quality, richness, and openness. The article discusses practical ways to implement MST training into technical communication group projects.

Based on Vygotsky’s theory of the interplay of the tool and sign functions of language, this study presents a textual analysis of a corpus of student-authored texts to illuminate aspects of development evidenced through the dialectical tension of tool and sign. Data were drawn from a series of reflective memos I authored during a seminar for new doctoral students designed to encourage the development of their identities as educational researchers. In an effort to understand how the tool and sign functions played out in this developmental context, I employed three methods of analysis: (a) I parsed them into evidential units of induction or deduction, (b) I positioned each unit on semantic differential scales to indicate the assumptions and authorial roles manifested, and (c) I examined how these positions were discursively realized through problematizing, intertextual reach, procedural membership, and reciprocal membership. The analysis demonstrates how examining the dialectical relationship of tool and sign illuminates the developmental trajectory of a student writer.

This essay argues for approaches to composing that underscore the translingual and multimodal (or transmodal) character of texts and communicative practices. It maintains that learning about and working with different language varieties, cultural conventions, modes, and communicative technologies (digital as well as analog) helps to highlight processes of making, engaging, remixing, and transforming which, in turn, provide markedly different, and greatly enriched, points of entry for experiencing and appreciating the dynamic, highly distributed, translingual, multimodal, and embodied aspects of all communicative practice.

Emancipatory projects that have sought to change paradigms of knowledge making in English studies have fallen short of addressing the imperialist underpinnings of modernist thought. This essay defines three key aspects of translingual approaches to composition and rhetoric (i.e., languaging, translating, and dwelling in borders) that can potentially involve scholars and students in meaning making that attempts to level linguistic and knowledge hierarchies that always index imperialist legacies of thought and deed.

This essay examines what a translingual orientation offers to the study and teaching of genre, in particular what we gain when we think of genre difference not as a deviation from a patterned norm but rather as the norm of all genre performance. A translingual perspective draws our attention to genre uptake as a site of transaction where memory, language, and other semiotic resources, genre knowledge, and meanings are translated and negotiated across genres, modalities, and contexts. Focusing on genre uptake performances shifts attention from genre conventions to the interplays between genres where agency is in constant play.

For the first time in the history of the address, the 2011 State of the Union was accompanied online by an enhanced version, which gave viewers the option of experiencing the speech alongside a display providing images, charts, graphs, outlines, and data visualizations. This paper examines the visual rhetoric of President Barack Obama’s 2011 enhanced State of the Union, locating this rhetoric in an aesthetic regime of neoliberal temporality. I argue that the visual rhetoric of the Enhanced Address articulates between conservative and progressive temporalities in order to promise a future economic victory prefigured by the economic logics of the past. Working between Svetlana Boym’s understanding of a restorative nostalgia that seeks to return to a lost, mythic origin, and a reflective nostalgia which looks to the past to open up new possibilities for the future, I argue that the temporal rhetoric of neoliberalism stylizes the return to the past as modality of progression in the future. I draw on the work of Lauren Berlant and Sarah Sharma to argue that the aesthetics of the enhanced State of the Union invite viewers into a recalibrative nostalgic temporality which works reciprocally between restoration and reflection, allowing viewers to adjust their relationship to a deflated political scene without fundamentally altering the political coordinates that produce the conditions of economic exchange.

A hybrid assignment, a research-based academic essay paired with a research-based weblog, incorporates elements from both personal and academic writing to challenge students to critically think about how and why they write privately and publically. Students writing into this new model of public discourse can experiment with stance and tone across genres to exercise their abilities as responsible and flexible writers.