The thousand-yard stare is a commonplace rhetorical convention in visual representations of US wars. This essay analyzes the stare in Tom Lea’s, David Douglas Duncan’s, and Luis Sinco’s war images, and asks: How does circulation of such images encourage civilian spectators to imagine their military representatives’ wartime experiences? Does this imagination support or constrain civic action on behalf of veterans? Unlike prior analyses, which critique the stare for constraining protest, this essay argues that the stare can encourage civilian action by productively mediating civilians’ distance from war’s violence. The stare indexes traumatic violence not presented in the image yet calls on spectators to imagine that violence in spite of its absence. Although Duncan’s framing of the stare offers a masculine, stoic, and sacrificial vision constraining its critical potential, Lea’s and Sinco’s framings offer multimodal depth, rendering originary violence, traumatic dissociation, and mental injury as public problems in need of redress.

This paper highlights the importance, when researching writing across the lifespan, of addressing a range of aspects of social context which change over time, particularly focusing on tools, values, relationships and identities. It illustrates this argument by drawing on a range of empirical studies exploring different aspects of writing in university settings, working with adults at a range of levels from Masters through doctoral study to academics' working lives, and reflects on the implications of this research for lifespan writing studies more generally. The projects drawn on include a study of multimodal feedback on postgraduate student writing and students' responses to this; a detailed study of academics' writing practices in the context of structural changes in Higher Education; and an interview study with PhD students participating in writing retreats, reflecting on their writing experiences. Drawing on findings from this work, we argue that shifts in material, social and institutional dimensions of context have a significant impact on what individuals write and on the writing practices that they develop. We particularly highlight the role of changing tools for writing and values around writing, and the importance of transformations in identity and relationships. We argue that the tradition of literacy studies research, drawn on by all the projects described in this paper, provides the theoretical and methodological resources to approach such aspects of academic writing development across the lifespan, by adopting a holistic perspective on writing which locates writing as situated practice and thereby provides insight into these social and contextual influences.

O’Connell’s Rhetoric of Seeing joins a growing list of titles interested in restoring performance and visuality to our understanding of ancient Greek culture and, especially, political and legal culture. This work distinguishes itself through its limited focus on the rhetorical function of seeing and visuality in extant forensic speeches. Each chapter addresses a different kind of seeing, often beginning with an overview of the relevant secondary literature, then considering other ancient genres or fields—Plato and Aristotle, poetry or history, medical or rhetorical treatises, and finally examining two or three important or representative examples from legal speeches. O’Connell divides the work into three “kinds” of seeing.First, he looks at what the audience can literally see. Part 1, “Physical Sight,” considers examples of visual bias concerning the physical appearance of litigants or others. This includes familiar arguments from probability (eikos) based on appearance: one need only look at Antigenes to know that he could not have overpowered Pantainetos (Demosthenes 37, Against Pantainetos); a glance at the pensioner’s disability and we can see that the charge of hubris is ridiculous (Lysias 31, For the Disabled Man). It is surprising here that O’Connell does not do more with the visual aspect of eikos arguments, which are said to have begun with Hermes’ infantile appeal to his own youth in his defense speech against Apollo: “Do I look like a cattle driver to you, a burly fellow?” (Hymn to Hermes 265). This is a central and well-trod aspect of ancient rhetorical theory that seems to call out for inclusion and that could have been given a new layer of interpretation through O’Connell’s visual approach. Counter-probability is rare in legal arguments but equally important in the development of rhetorical theory and with similar implications for visual rhetoric. The strong (or young) man who asserts that he would not have assaulted the weak (or old) man because he would be the first suspected depends in part upon similarly visible features of his person (Antiphon 2.2.3; cf. Aristotle 2.24.10–11).The final chapter of Part 1 takes up issues of movement and gesture, with references to gesture in Plato and Aristotle, a brief review of physiognomy, and then a discussion of Aeschines’ widely studied Against Timarkhos. There is brief mention of the rhetorical cannon of delivery or hupokrisis and the recommendations of Cicero, Quintilian, and Dionysius and more recent work on categories of gesture by Karsouris and Hughes, but O’Connell does not take up the rhetorical canon of delivery (hupokrisis) in depth. His discussion of delivery faces the same problems that most scholars face: there simply is no good way to talk about it as a general category. Either atomize the body to talk about hands, then faces, then movement, or settle for vague gestural and expressive categories and recommendations: modest and appropriate or excessive and inappropriate. Attending to specific cases and speeches is often more successful. O’Connell’s discussion of Aeschines’ speech Against Timarkhos goes further toward demonstrating his overall thesis than do his general comments.Second, we can observe the language of visuality in the speech itself, when the speaker asks the audience to look at something literally and directly as visual evidence, or figuratively or indirectly through terms of demonstration, display, and witnessing. Part 2, “The Language of Demonstration and Visibility,” looks at terms of seeing in the orations: deiknumi (demonstrate or display) and its variants (apodeixis, epideixis, endeixis, etc.), phaneros and phainomai (visible) and their variants (kataphanēs, apophainō, etc.), and martus (witness) and its variants. Chapter3 considers the language of display and witnessing, where speakers seek to prove their case by describing what has been shown and seen by witnesses, or where they demand witnesses to prove what has been asserted. “How else,” says Antiphon in On the Chorus Boy, “can I make true things trustworthy” except through the consistent affirmation of witnesses who were present? (Antiphon 6.29). This section is valuable for bringing into focus the centrality of visibility and sight to notions of truth, a factor that can easily be lost in translations. Thus, the speaker of On the Chorus Boy emphasizes not only that he was appointed a counselor and entered the council-house as such, but that he was seen (horōntes) and was visible (phaneros) doing so. O’Connell does not claim, but he enables one to conclude, that the infamous dichotomy between truth and probability in rhetorical theory typically devolves into these two kinds of seeing: what has been witnessed (and is therefore true) and what the situation “looks like” to the audience (and must be probable).Included here is a section on medical and philosophical interest in the visible as an epistemological link to the invisible. O’Connell quotes Anaxoagoras’ maxim, “Visible things are the face of things which are unclear” (101). This could lead to a discussion of the complex and rhetorically important doctrine of signs as tools of rhetorical argument. Instead, O’Connell moves on in chapter four to discuss how speakers use the language of visibility and demonstration to describe arguments. This, argues O’Connell, places jurors into the position of virtual witnesses themselves of something publicly known, as it was known that some grain dealers had been changing their prices over the course of a day (Lysias 22, Against the Grain Dealers). Or they are witnesses of arguments as demonstrations (epideixō). Speakers contrast what the opponent simply says (legei) with what the speaker will “demonstrate in an evident manner” (110). The language of display is thus used to differentiate mere telling from showing. This reference to visual metaphors for the persuasive effects of argument suggests a larger connection with rhetorical argument generally and the role of vision therein.Third, we can attend to imagination as internal sight, or what O’Connell calls “shared spectatorship,” when speakers “try to make the jurors visualize their version of events and accept it as true” (123). This includes a discussion of techniques of vivid description like enargeia, hyptyposis, or ekphrasis via detailed description. O’Connell looks specifically at described scenes of civic suffering, as when Lycurgus describes the panic after the Athenian defeat at Chaeronea. Shared spectatorship can also occur through the construction of “internal audiences—characters in a narrative who witness what is being described and whose reaction can function as a prompt and model for the jury, as when, in the speech Against Diogeiton (Lysias 32), the speaker recounts Diogeiton’s daughter speaking to the family about her father’s embezzlement and lying (150). Visualization can also be heightened through deictic pointing to the persons in court whose actions or suffering is being described, fusing what is physically seen (demonstratio ad oculo) with what is imagined (deixis ad phantasma): “this man here they seized and tied to the pillar” (Lysias fr. 279, 155). This takes us back to the beginning, which addressed seeing in performance space itself. This last section was for me the most interesting and informative, and it seemed the most widely applicable to forensic, and indeed all genres of oratory. Here too, I saw connections to a basic category of rhetorical discourse: narrative and narrative theory, to notions of realism and verisimilitude, to the conjuring of story worlds and the work of narrative inference.Certainly, anyone interested in visual and spatial rhetorics, bodily rhetoric, performance, and related topics will want to be familiar with O’Connell’s work. I found much to admire in every chapter, and more so as the book advanced to later sections and chapters. At the same time, in each section I found myself thinking about some clear and relevant connections to fundamentals of rhetorical theory—theories of probability and signs, of argument and narrative—that the work brushed up against but did not explore. Of course, O’Connell writes as a classicist, not a rhetorician, and we cannot expect any work to follow up every thread that it pulls on, particularly those outside the author’s bailiwick. So, we might rather say that this work promises to amply repay the attention of scholars of rhetorical history and theory for its insights into the operation of sight and seeing—physical, lexical, and imaginary—in Attic forensic speeches.

This case examines how functionalist approaches manifest culturally based on users’ contexts. The authors conduct a critical visual semiotic analysis of the race and Hispanic origin questions on the 2010 U.S. Census form, demonstrating how incongruities in design potentially harm people. This demonstrates a need for adding critical analyses to design and research and it refocuses the Society for Technical Communication’s value of promoting the public good on to design and documentation in order to fight injustice.

This provocation reflects on Sound Off, a community writing project with listening as its central activity and storytelling as a key component. Understanding Sound Off as an experimental site for community listening, I highlight the need for listening in localized contexts, while exploring how we might design community writing projects as listening spaces. Perhaps most provocatively, I identify challenges that teachers, scholars, and activists need to address for community writing to become fully multimodal and reflect reciprocity among participants.

T he Community Literacy Journal is an interdisciplinary journal that publishes both scholarly work that contributes to theories, methodologies, and research agendas and work by literacy workers, practitioners, and community literacy program staff.We are especially committed to presenting work done in collaboration between academics and community members, organizers, activists, teachers, and artists.We understand "community literacy" as including multiple domains for literacy work extending beyond mainstream educational and work institutions.It can be found in programs devoted to adult education, early childhood education, reading initiatives, or work with marginalized populations.It can also be found in more informal, ad hoc projects, including creative writing, graffiti art, protest songwriting, and social media campaigns.For us, literacy is defined as the realm where attention is paid not just to content or to knowledge but to the symbolic means by which it is represented and used.Thus, literacy makes reference not just to letters and to text but to other multimodal, technological, and embodied representations, as well.Community literacy is interdisciplinary and intersectional in nature, drawing from rhetoric and composition, communication, literacy studies, English studies, gender studies, race and ethnic studies, environmental studies, critical theory, linguistics, cultural studies, education, and more.

The release of genetically modified mosquitoes in the Florida Keys is part of a public health initiative to limit the spread of infectious disease. The local debate over this proposed action provides a current case study of a public, scientific controversy in which citizens and officials disagree about what is best for the community. The case study challenges technical writing students to consider complex cultural circuits, or networks, that comprise a specific controversy. The students analyze the rhetorical situation, create new content that contributes to the ongoing discussion, and learn about audience through usability testing their multimodal projects.

The Eating Well With Canada’s Food Guide (CFG), which represents Canada’s official dietary guidelines, is designed to address high rates of obesity and diet-related chronic disease in Canada. This article presents a qualitative study of the social and ideological actions that the CFG performs. The study draws on the concepts of antecedent genres and uptake from rhetorical genre studies, applying them in a multimodal analysis of the CFG and interviews with the CFG’s producers and registered dietitians (RDs) who work with vulnerable populations. Findings reveal that scientific representations play a profound role in the social and ideological actions that the CFG performs. The author demonstrates how representations of scientific evidence from nutrition science, as exemplified in the concept of the Food Guide Serving, are taken up by the CFG and, in turn, how these scientific representations influence RDs’ use of the CFG and dominate, rather than facilitate, discussions about healthy eating. The study suggests that the CFG, instead of being an enabling resource, is a limiting document: It limits who can make healthier food choices and how such choices can be made.

Drawing on a text-based ethnography of digital writing in a biology laboratory, this article examines the text trajectory of a scientific manuscript and a scientific team’s related writing for public audiences, including for citizen scientists. Using data drawn from texts, observations, interviews, and related artifacts, the author examines how scientists conceptualize and adapt their multimodal writing for specialized scientific audiences as well as lay audiences interested in the work of scientific inquiry. Three concepts— meaning compression, meaning expansion, and meaning attention—were used to analyze the multimodal strategies that scientists employ when composing for different audiences. Findings suggest that while scientists often restrict their writing practices to meaning compression to maintain the values and conventions of scientific genres, they also sometimes deploy a wider range of multimodal strategies when writing for nonspecialist audiences. These findings underscore the complex rhetorical environments scientists navigate and the need to support emerging scientific writers’ development as versatile writers able to adapt varied multimodal strategies to diverse rhetorical and epistemic goals.

Buck captures how writing center studies scholars and scholarship adapt to changes in

This program profile describes a globally focused cocurricular writing program led by faculty, staff, and graduate students from academic affairs and student affairs. Revisiting the program’s first two years, the authors (three graduate students and a faculty member) assert that writing-oriented learning activities within Texas Christian University’s (TCU) GlobalEX program were productively positioned to enable students to engage with other cultures and hone skills for becoming intercultural navigators. Drawing on a similar approach from Fernando Sánchez and Daniel Kenzie to apply Michel de Certeau’s ideas about tactics in cultural work, our program profile identifies important features shaped by this program’s cocurricular context that can be productively drawn upon both in non-course contexts and in curricular spaces. These include writing reflectively within flexible structures arranged to support learning through progressive stages; capitalizing on multimodal composing genres conducive to collaboration; and situating writing in public contexts without the individual pressure of grades.

The interrelation of scientific and aesthetic visual norms employed in anatomic sculptures opens novel and effective persuasive registers in debates around bodily autonomy. Using Damien Hirst’s installation The Miraculous Journey as a case study, this study posits that these visual representations of reproduction signify beyond the body, demonstrating the ways that pregnancy and childbirth embody political, national, and cultural possibilities. Tracing the sculptures’ adoption as evidence by anti-abortion activists in United States debates over abortion care, this article argues that the liminal disciplinary site of the sculptures makes them uniquely effective in humanizing the fetus. While there is a growing body of work examining the rhetorical function of visualizing technologies in medical practice, there is little work on the function of such images in public culture. This article responds to calls from rhetoricians of STEMM for further examination of science’s visual rhetoric, as well as greater engagement with non-expert rhetorics of science.

In order to contribute new knowledge about the digital literacies of midlife and older adults on social media, this study examines the literate practices of a subpopulation of Instagram users: female lifestyle Instagrammers and bloggers who self-identify as being over fifty. Survey results reveal why these women use blogs and Instagram, how they developed digital literacies, and who or what influences their practices. Case studies provide examples of the unique ways three women use Instagram to achieve visibility. Whereas most existing scholarship on visual depictions of age focuses on images that are controlled by other people (e.g., advertisers, community groups), I show how women use digital literacies and the affordances of Instagram and blog platforms to control their self-representations. Through their multimodal performances of identity, the women participate in discourses on aging and gender and pursue their goals of self-expression, inspiration, connection, and promotion.

“It’s time again to welcome a new issue of Present Tense – volume 7, issue 2. Though not a special issue, this edition includes articles on an array of topics that coalesce around public and visual rhetorics.”

This article explores the rhetorical dimensions of the structure and selected contents of Amnesty International’s official website. The study is empirical in nature and considers current patterns of textual resources and visual affordances together with color applications and compositional design. It analyzes a sample of news reports, AI mission statement, vision and values together with topical icons, infographics, photographic and video materials. It illustrates the salient multimodal solutions in persuasive communication and evaluates the organization’s online rhetoric with respect to the persuasive potential to mobilize support and remediate its appeals in social media. It also applies the notion of newsworthiness to demonstrate how reports, visuals and posts are represented to arouse emotions (pathos), engender authenticity and appropriateness of actions (logos) and boost credibility (ethos).

This article examines conversation analysis (CA) as a methodology for usability research for technologies used in multiparty contexts. Current laboratory-based usability practices often cannot account for how technologies are used in multi-participant interactions outside of the laboratory. In this article, I review new materialist approaches to usability and consider how CA might be integrated into this theoretical perspective. To do so, I present an example transcript of CA and review CA research on telemedicine in multiparty environments. I use this approach to argue that incorporating CA into a new materialist approach can help usability researchers to reconfigure the technical design of and the socio-material practices surrounding technologies.

Teaching the graphic novel in English and literature courses can be a challenge, because some of the most commonly used techniques for analyzing literature are not entirely compatible with the analysis of a multimodal form like comics. Additionally, the traditional classroom can be a problematic context for the graphic novel, especially in large lecture spaces, with their unimodal, instructor-centered design. The experience of teaching graphic novels in an active learning classroom suggests that a multimodal approach placed in a learning space designed for multimodal approaches can enhance and improve the experience of teaching the graphic novel in undergraduate courses.

The author reports findings from two iterations of a formative experiment focusing on improving students' conventional and digital, multimodal arguments. The first iteration of this experiment occurred in a rural school district in the United Sates with an eleventh-grade English/language arts teacher, and the second iteration was implemented in the same school district, but in a different high school with both a ninth- and tenth-grade English/language arts teacher. The findings focus upon obstacles the teachers encountered while implementing an intervention that entailed elements of argument; digital, multimodal tools; and the writing process. These obstacles led the author to make six recommendations for the future professional development of rural teachers integrating digital, multimodal tools into conventional writing curriculum.

Introduction: With the growing need for intensive and online course formats, it has become increasingly difficult to determine what combinations of knowledge and skills that are important for both academia and industry can best provide students with the grounding for exploring the questions of global technical communication (TC) during their programs. About the case: The 7.5-week online global TC course at Arizona State University is divided into six theme-based units and a unit that focuses on a research/revision project. Situating the case: While over the last 20 years, excellent practical materials for teaching global TC have been published, there is a need for comprehensive course descriptions, particularly for courses in online and intensive formats. Methods/approach: The course was based on an extensive literature review of academic and trade publications. The course's effectiveness was analyzed based on final reflective discussion assignments and anonymous student course evaluations. Results/discussion: The literature review revealed six major themes that define global TC: culture and communication, the frameworks of culture, verbal communication, global content and technology, visual communication, and cross-cultural collaboration and audience work. Each unit addressed one of these themes. The course was well-received, and students started posing critical questions to explore in future courses. Conclusions: In our program, having a dedicated global TC course was very beneficial because it introduced students to concepts that they could further explore in other 7.5-week online courses. In addition, I present recommendations for adopting/adapting the course, as well as its limitations and suggestions for future research.

The Enlightenment can be described as an attempt to make reason more worldly in order to make the world more reasonable, and the Enlightenment project is characterized by an unflagging confidence in reason's ability to ensure humanity's progress toward a more peaceful, civilized, and moral social and political order. However, the luminaries of the Enlightenment did not succumb to the naive belief that disembodied reason was capable of exercising an immediate influence on human history. To the contrary, these thinkers recognized that humanity always already mediates between reason and history and that reason only ever becomes efficacious in the world by being at work in and on human beings. Accordingly, they recognized that their attempt to promote human progress could succeed only in and through a program of universal education. The great thinkers of the Enlightenment not only thought deeply about the nature and purpose of education; they also saw their own intellectual efforts as contributions to the education of the human race. Indeed, the great Enlightenment thinkers were driven to serious reflection on their own practice of writing as the vehicle for their overarching attempt to engage, teach, and shape their readers. Though it is now common to describe the Enlightenment as a transition away from humanism's concern with speech, rhetoric, and community toward a one-sided emphasis on mathematics, method, and subjectivity, this characterization is a drastic oversimplification that fails to attend to the necessary and abiding connection between Enlightenment, education, and communication.Immanuel Kant is exemplary, in this context. For though he did not write an independent treatise on rhetoric, he emphasizes the vital role that rational discourse and effective communication play in promoting freedom and morality. Thus, Kant characterizes the Enlightenment itself as an attempt to educate the human race by cultivating in each individual the capacity and courage to employ their own understanding to make rational judgments without relying on the guidance of authoritative opinion or received custom, and he argues that this pedagogical project requires, as its necessary condition, the public use of reason, in which individuals communicate their own considered views to their community. Kant thereby indicates that the Enlightenment is inseparable from the modes of communication that make Enlightenment possible and a fortiori from an account of what modes of communication are conducive to the Enlightenment project.G. L. Ercolini's Kant's Philosophy of Communication takes Kant's account of the connection between Enlightenment and the public use of reason as its starting point. Noting that the public use of reason is nothing if not a way of speaking to and with others, Ercolini's principal thesis is that Kant not only offers “a complex philosophy of communication, but, as it turns out, rhetoric, debate, and exchange emerge as central to his enlightenment philosophy” (2). Ercolini begins by noting that historians of rhetoric have tended to overlook Kant completely or to emphasize his noteworthy criticisms of rhetoric (9). However, Ercolini avers that “a little digging” allows us “to get past Kant's curt dismissals” of rhetoric and reveals that there is, in fact, “much in his work that relies on an important role for speech, rhetoric, communication, and public discourse” (6). Accordingly, Ercolini undertakes the daunting but important task of drawing out the theory of communication underlying Kant's various “discussions of rhetoric, ethics, aesthetics, and style” (2).Ercolini begins her analysis of Kant's philosophy of communication by reviewing Kant's several explicit discussions of rhetoric (chapter 1). She rightly observes that Kant is often quite critical of the art of rhetoric, and she notes that “Kant's objection to rhetoric … is twofold: first, to its deceptive purpose and, second, to its violation of the audience's goodwill and autonomy” (33). That said, Ercolini emphasizes that Kant's criticisms of rhetoric do not prevent him from acknowledging the need to speak well, with practiced eloquence and measured style (40). Indeed, Kant appends an important footnote to his most famous and trenchant critique of rhetoric in which he praises the figure of the Ciceronian orator, who speaks “without art and full of vigor” (40). In the final analysis, then, Kant's explicit discussions of rhetoric are ambivalent. Kant is critical of rhetoric, to be sure, but he also points beyond rhetoric to a mode of speaking that is both praiseworthy and salutary. Thus, Ercolini concludes, “Kant's treatment of rhetoric, albeit confounding and requiring much patience, ends up opening possibilities for distinguishing good from bad rhetoric” (41). The remainder of Ercolini's book is devoted to exploring these possibilities in an attempt to develop “a Kantian account of what could be considered as a positive role for rhetoric” (34).Schematically, Ercolini's analysis of Kant's philosophy of communication seems to fall into three parts: one that deals with the practical significance of Kantian rhetoric (chapters 2–3), one that deals with the aesthetic characteristics of Kantian rhetoric (chapters 4–5), and one that begins to develop an account of what Ercolini calls “rhetorical judgment” (conclusion). In the realm of the practical, Ercolini first examines Kant's interest in and analysis of popularity (chapter 2) and then turns to a more direct examination of the moral significance of rhetoric (chapter 3). Ercolini's treatment of Kant's account of popularity is one of the strongest and most important sections of the book. Noting Kant's well-known criticism of popularity in the Groundwork for the Metaphysics of Morals (77–79), Ercolini illuminates this criticism's place within Kant's broader critique of Popularphilosophie, on one hand (81–87), and his own attempt to clarify, popularize, and promote the Critique of Pure Reason by publishing the Prolegomena to Any Future Metaphysics, on the other (60–77). Ercolini's central claim is that Kant is critical of the pursuit of popularity for its own sake but that he also recognizes the need to popularize his own thought. Of course, Kant is well aware that it is difficult to navigate between the demand for rigor and well-groundedness and the demand for clarity and accessibility, but Ercolini concludes that he sees the attempt to meet both demands as one of the central tasks of philosophical communication.Chapter 3 turns from an examination of popularity to an investigation of the normative principles that ought to govern the quest for popularity. In taking up the relationship between Kant's moral philosophy and his philosophy of communication, however, Ercolini turns away from what she describes as the “strict and morally rigorous Kant,” who “is interested in determining the a priori principle of moral action divested of any particularities, experience, or other intervening factors”, to what she describes as “another ethics in Kant”—“an other-ethics,” “an ethics of the empirical,” “an improper ethics” (92, 106, 104). Ercolini's claim is that Kant's anthropological writings reveal an approach to ethics that is “anchored in the realm of the contingent, the situational, and the momentary” (93). On Ercolini's reading, this “improper ethics” corrects for “the radical interiority of the categorical imperative” by offering an account of the human as necessarily directed toward and obligated by the community in which he or she abides (110). And precisely because it orients one toward community, the “other side” of Kant's ethics both demands and describes forms of communication fitting for moral community, as Ercolini demonstrates through a fascinating analysis of Kant's concrete discussions of communal dining (115–20).After completing her examination of the “practical” side of Kant's philosophy of communication, Ercolini turns to the “aesthetic” side in order to consider the role of Kant's aesthetic theory (chapter 4) and his account of style and tone (chapter 5). Chapter 4's overarching goal is to explain why Kant ranks poetry above rhetoric in the hierarchy of the fine arts. Ercolini argues that a careful analysis of Kant's argument reveals that both poetry and rhetoric can provoke a lawless and disordered relation between the cognitive capacities but that both can also provoke a lawful and harmonious free play of the faculties (154–64). Accordingly, Ercolini once again concludes that Kant's aesthetic theory points toward a positive account of rhetoric, his explicit criticisms of rhetoric notwithstanding.Chapter 5 offers an important analysis of Kant's account of style and tone. Regarding style, Ercolini stresses Kant's recognition of the need to balance logical and aesthetic perfection in order to achieve a “perspicaciousness” that is conducive to true popularity (167–75), while avoiding a fashionable, enthusiastic, and affected style that undermines rational autonomy (175–81). Whereas style can and should engage the understanding, Ercolini argues that Kant thinks that tone necessarily engages the affects (186). Thus, Kant's account of tone is primarily negative in orientation—he emphasizes the need to avoid a “superior” tone that smacks of “elitism, where the philosopher is one of the few who uncovers the secret of philosophy and, as such, holds a superior position over the many who have no such direct access” (193). And yet this negative posture points beyond itself to Kant's commitment to a way of speaking that “facilitates understanding and encourages engagement and exchange” (197).In her conclusion, Ercolini seeks to draw the insights from the preceding chapters together in order to offer an account of Kant's Enlightenment legacy. She pays particular attention to Kant's popular essays. Drawing out their historical context, she characterizes these essays as “argumentative moments in dynamic and lively debates” that describe, theorize, and establish “the communicative space of a vision of politics focusing on public modes of engagement” (202, 200). Ercolini concludes that Kant's popular essays reveal an implicit theory of what she calls “rhetorical judgment,” that is, the “practices of submitting one's thought to the public realm, achieving balance between rigorous examination … and aesthetic perfection” in order to attain true popularity (215).Having offered an overview of Ercolini's argument, I conclude this review by developing three critical suggestions in hopes of inspiring further reflection on the nature, meaning, and significance of Kant's philosophy of communication. The first critical suggestion concerns Ercolini's treatment of Kant's ethical theory. As noted above, Ercolini's treatment of Kant's moral philosophy turns on her distinction between Kant's account of a pure and abstract ethical theory grounded in the categorical imperative and the “impure” and therefore “improper” ethics that Kant presents in his anthropological writings. Though Ercolini is right to claim that scholars have tended to emphasize the former at the expense of the latter, she goes too far in her own attempt to correct for the scholarship's one-sidedness. For Ercolini goes so far as to claim that it is possible to read Kant as grounding morality in anthropology (106). However, the mature Kant consistently maintains that the categorical imperative is and must be the foundational principle of human morality. This observation is not intended to discredit Ercolini's claim that Kant's anthropological writings shed important light on his understanding of communication—they surely do—but it does call Ercolini's way of drawing a sharp distinction between two different “sides” of Kant's ethics into question. It would be productive to further develop Ercolini's careful examination of Kant's anthropological writings by exploring the important and vital connection between Kant's philosophy of communication and his account of the nature and significance of the fundamental principle of morality, that is, the categorical imperative.A second critical suggestion has to do with Ercolini's way of abstracting from Kant's account of reason as spontaneous, free, teleological, and moral. For Kant, the categorical imperative is grounded in reason. The moral law is always reason's moral law, and reason always already demands that morality be efficacious in the world of lived experience. This demand is root and fruit of Kant's account of the highest good, and it ultimately takes the form of an obligation to establish what Kant describes, variously, as a moral world, a kingdom of ends, and an ethical community. Attending to Kant's account of reason suggests that the categorical imperative, as reason's moral law, is always already bound up with concerns with and interests in the well-being of the community. Indeed, Kant emphasizes the importance of speech, communication, and the public use of reason at least in part because these activities are conducive to the realization of the highest good in the world. Accordingly, we do not need to turn away from Kant's “proper” ethics in order to explore the connection between morality, community, and communication. Ercolini's account of the role of communication in humanity's social and political life might benefit from further reflection on the central role that the highest good plays in Kant's moral theory.A final critical suggestion concerns Ercolini's treatment of the Critique of Judgment. For, though Ercolini offers a general summary of Kant's project in this work and a careful analysis of Kant's account of the relationship between poetry and rhetoric, she overlooks several other important and explicit discussions of communication that Kant offers in the third Critique. In particular, an account of Kant's philosophy of communication would benefit from a discussion of Kant's claim that judgments of taste are characterized by their universal communicability, of Kant's account of genius as an artist who is characterized by a special talent for a unique mode of communication, and especially of Kant's suggestion in CPJ §60 that beautiful art is capable of contributing to social and cultural progress by facilitating communication and sympathy between different social classes. Ercolini's discussion of the third Critique is helpful so far as it goes, but this work contains more resources for developing a complete account of Kant's philosophy of communication than Ercolini suggests.In the final analysis, Ercolini's treatment of Kant's philosophy of communication is clear, original, and provocative, and it pursues a number of important questions that are typically overlooked in the Kant scholarship. Kant's Philosophy of Communication makes an original and timely contribution to the scholarship. It will be of interest to scholars working on Kant's social and political theory, and it will be required reading for anyone interested in Kant's understanding of speech, rhetoric, and communication.

ABSTRACT This article asks if soundscapes are reasonable by inquiring if they can be designed to enhance the capacity for reasoned judgment. Using a normative pragmatic approach to argumentation theory, I demonstrate that soundscapes can be strategically designed to amplify or attenuate obligations, increase or weaken conviction, and create or mask argumentative context. I use the paradigm case of the 2012 casserole protests in Quebec to identify how arguers can use soundscapes to compel a response, increase the desire for advocacy, and create a public context. This expands the multimodal argumentation literature to incorporate sound. This article also intervenes into sound studies by supplying critical norms of reasonableness to assess soundscapes.

Aby Warburg (1866–1929) has been a tremendously influential thinker in the history and theory of art. Parts of his project have implications for the history, theory, and criticism of rhetoric. For the most part, however, rhetoricians have not engaged with his work. This article seeks to persuade rhetoricians to engage with Warburg’s thought and legacy. In particular, it seeks to articulate his Mnemosyne image atlas as a theory and practice of visual topics. Discovered as part of a historical investigation and expressed in a theoretical register, Warburg’s account of visual topics is then exemplified in reference to the gestural politics of “Hands Up, Don’t Shoot” in the twin contexts of contemporary media ecology and contemporary racial politics in the United States.

This content analysis examined how the authors of 114 peer-reviewed journal articles explained their empirical approaches to visual rhetoric scholarship. The authors content analysis sought to answer the question: how do scholars engage with the material dimensions of visual culture, specifically in terms of artifact selection and reporting data collection procedures? The answers to this question, the authors argue, are needed urgently as visual rhetoric research continues to expand because inconsistent reporting will hinder replicability and the reader’s access to the author’s argument. The authors use the findings of their content analysis to surface the implicit norms of empirical visual rhetoric research and to develop recommendations for reporting visual data collection procedures.

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.

Racial Shorthand disrupts the dominant shorthand by demonstrating how communities of color produce multimodal projects and leverage the affordances of social media in ways that extend the rhetorical traditions and literacy practices of these communities.

ABSTRACTIn this article I propose to interpret Austin's conception of perlocution in light of Peirce's philosophy of signs, through the lens of his notions of thirdness and speculative rhetoric in particular. I suggest that the traditional notion of speech genre, examined within the context of Peirce's semiotic framework, can make sense of the regularities and predictability that are characteristic of a large part of our discursive practices. More specifically, I argue that crystallized “habits of interpretation,” correlated to purposeful speech genres instantiated in given circumstances of enunciation, could be construed as predetermining the range of future interpretive conduct. In that perspective, this process of determination could be thus conceived as relatively predictable, at least for communication situations activating well-defined speech genres. In the end, I suggest that Peirce's conception of rhetoric draws attention to the necessarily constrained interpretive habits of our discursive life, yielding an original perspective on the notion of perlocution.

During the past 30 years, genre conceptualized as social action has been a generative framework for scholars, teachers, and rhetors alike. As a mid-level, mediating concept, genre balances stability and innovation, connecting theory and practice, agency and structure, form and substance. Genre is multimodal, providing an analytical and explanatory framework across semiotic modes and media and thus across communication technologies; multidisciplinary, of interest across traditions of rhetoric, as well as many other disciplines; multidimensional, incorporating many perspectives on situated, mediated, motivated communicative interaction; and multimethodological, yielding to multiple empirical and interpretive approaches. Because genre both shapes and is shaped by its communities, it provides insight into both ideological conformity and resistance, lends itself to multiple pedagogical agendas, and provokes questions about media, materiality, ethics, circulation, affect, and comparison.

This content analysis examined how the authors of 114 peer-reviewed journal articles explained their empirical approaches to visual rhetoric scholarship. Our content analysis sought to answer the question: how do scholars engage with the material dimensions of visual culture, specifically in terms of artifact selection and reporting data collection procedures? The answers to this question, we argue, are needed urgently as visual rhetoric research continues to expand because inconsistent reporting will hinder replicability and the reader’s access to the author’s argument. We use the findings of our content analysis to surface the implicit norms of empirical visual rhetoric research and to develop recommendations for reporting visual data collection procedures.

“Mr. Robot speaks to the increasing complex constructions of ethos in a multimodal media ecology. That there is no position of pure and absolute sincerity, that we are all imbricated in the brutalities of capitalism, is not a novel idea; however, Mr. Robot as content seeks to agitate against the very forms of power that enable it”

The ‘Learner-Driven Feedback’ (LDF) procedure is innovative in its combination of approaches to feedback provision in second/foreign language writing instruction which a) respond to learners’ individual queries and b) employ digital modes of delivery ([anonymised ] 2016). In LDF, formative feedback is given by the teacher, but the learners indicate on what aspects of their writing and in what mode they would like to receive feedback. In this study, LDF was used with 36 postgraduate students of an English for Academic Purposes (EAP) class at a university in Germany. The presented analysis of survey data highlights high levels of receptivity to LDF and reveals students’ perceptions of the affordances of different digital delivery modes for improving their writing. While feedback in the form of margin comment bubbles was perceived to be helpful to foster improvement in general language accuracy, students preferred emailed or audio-recorded feedback for the improvement of their writing related academic skills. The potential applicability of LDF for EAP and other writing instruction contexts is discussed based on these findings.

Given the multimodal nature of new modes of electronic feedback, such as screencasting, there is a need for the application of robust, theoretically grounded frameworks to capture linguistic and functional differences in feedback across modes. The present study argues that the appraisal framework, an outgrowth of systemic functional linguistics (SFL) that focuses on evaluative language and interpersonal meaning, can provide understanding of and discernment between technology-mediated modes of feedback. The study demonstrates this potential through an appraisal analysis of a small corpus of 16 screencast video and 16 text (MS Word comment) feedback files given to eight students over four assignments in an intermediate ESL writing class. The results suggest possible variation between the video and text feedback in reviewer positioning and feedback purpose. Specifically, video seems to position the reviewer as one of many possible perspectives with feedback focused on possibility and suggestion, while the text feedback seems to position the reviewer as authority with feedback focused on correctness. The findings suggest that appraisal can aid in the understanding of multimodal feedback and identifying differences between feedback modes.

As technology has made a range of modes of communication available and created new ways to integrate these modes, feedback has become increasingly electronic and multimodal. From written to audio, video, and screencast feedback, the multimodal options for electronic feedback (e-feedback) have expanded in such a way that we might speak of a ‘multimodal turn’ in feedback on foreign and second language writing. However, feedback studies on second language writing are just beginning to explore these complex areas. This essay offers a multimodal perspective on e-feedback by illustrating the scope of current research and highlights future research directions. The retrospective underscores the scarcity of research in the area with a specific focus on multimodality and identifies needs for speciality feedback systems that consider practical and contextualized perspectives. We argue that future research should strive for a context-rich description of e-feedback activities, gathering thick data about feedback provision, learner engagement with feedback and uptake through screencasting, eye-tracking, and keystroke logging technologies. These data should be triangulated with information about all factors impacting the feedback activity outcome, ranging from participant variables over modal affordances of the platforms used to environmental factors like institutional support.

The dispute for authority between the seemingly disparate disciplinary camps of theory and practice is a longstanding and well-documented tension within the field of technical communication (Miller...

This article proposes a heuristic that teachers and students can use together to create a vocabulary for discussing the aesthetic aspects of color and typography in document design work. By using this framework, teachers and students can generate a collection of shared visual topoi or commonplaces for describing the aesthetic value of color and typography that they can then draw from to inform visual analysis and production work.

Government-published documents often fail to communicate clearly—not only with citizens but also with professional readers such as civil servants. Visual or multimodal approaches remain rare. This is a particularly unhelpful practice in regard to legal–bureaucratic instructions (e.g., contracts, rules, policies), which exist to guide compliant behavior. This study explores the development and experimental evaluation of a diagrammatic guide of terms and conditions for public procurement that is addressed to civil servants. Results show that the diagrammatic format, compared to prose, significantly enhances comprehension accuracy and answering speed and is perceived as more appealing and functional by users.

This study examined adolescents’ perspectives on their multimodal composing goals and designs when creating digital projects in the context of an English Language Arts class. Sociocultural and social semiotics theoretical frameworks were integrated to understand six 12th grade students’ viewpoints when composing three multimodal products—a website, hypertext literary analysis, and podcast—in response to a well-known literary text. Data sources included screen capture and video observations, design interviews, written reflections, and multimodal products. Findings revealed how adolescents concurrently composed for multiple purposes and audiences during the literature analysis unit. In particular, students viewed projects as a platform to emotionally affect and entertain a broader audience, as well as a conduit through which they could represent themselves as composers. Emphasis was placed on creating cohesive compositions—ranging from close modal matching to building meaning at a thematic level and creating a multisensory experience indicative of the novel’s narrative world. These findings contribute a multidimensional understanding of adolescents’ various and interacting multimodal composing goals and have implications for leveraging modal affordances in the classroom.

This book examines the multimodal rhetoric of scientific arguments as they have been expressed in professional journals over the course of the past century. Through a series of chronologically ordered case studies, the author applies and develops a syncretic model for understanding scientific argumentation, which he articulates in Part 1 of the book and which relies heavily on major concepts in rhetorical theory. By applying the model to the case studies, the author demonstrates how rhetoric can provide the analytical machinery needed to grapple with the multimodal means used to create scientific arguments. In Part 2, the focus is a groundbreaking 1912 publication in the field now known as X-ray diffraction crystallography, specifically a set of X-ray photogram images included in the article that would help scientists at the time gain a better understanding of both the nature of X-rays and the atomic structure of crystals. Parts 3 and 4 present the book’s more interesting (from a multimodal perspective) case studies in terms of how arguments are assembled, circulated, and reassembled over time. In Part 5, Chapter 12 examines the rise of Photoshop as a material affordance for scientific arguments and the ethical dilemmas that this rise has precipitated. Chapter 13 provides description and tabular analysis of the use of videos in published scientific arguments, from an era when VHS tapes were mailed with journal issues through the YouTube era. It is in these chapters where the salience of and potential for the author’s model becomes clearer: As the use of multimodality rises in scientific arguments through the use of new technologies, new and better means for understanding how arguments are conceived, assembled, and circulated are needed both for authors and for teachers. Both audiences would benefit from reading Assembling Arguments. The book does not have a specific engineering focus, but it does provide a broad framework for professional communicators, teachers, and students to consider and improve visuals and multimodality in document design.

This study aims to investigate the different and competing perspectives of stakeholders of cultural heritage sites by examining the Mutianyu Great Wall in China.Literature review:Most studies focus on investigating the tourism destination image from the perspective of only one stakeholder, and only a small amount of research has attempted to integrate the perspectives of competing stakeholders into a single study.Research questions:1. How did the business operator perceive the Mutianyu Great Wall? 2. How did UNESCO perceive the Mutianyu Great Wall? 3. How did international tourists on TripAdvisor perceive the Mutianyu Great Wall? 4. What are the dynamics among the three stakeholders' perceptions? 5. In those dynamics, what are the contested issues in the Great Wall's heritage preservation and tourism development? Methodology:The study adopts a discursive approach to social constructivism in examining the images of the site as perceived by the three important stakeholders. It incorporates qualitative thematic and multimodal discourse analysis with quantitative high-frequency word analysis, supplemented by an interview with the heritage site administrator and a field trip. Results:The business operator perceived the Mutianyu Great Wall as a scenic spot for modern rural tourism, UNESCO emphasized its historical and cultural significance, and international tourists perceived it as a hybrid image.Conclusions: The study identified a preservation-growth continuum and showed different and even competing perspectives. It also discussed two contested issues in the field. The study contributes to heritage studies by developing an interdisciplinary discursive framework and suggests practical implications to heritage management and professional communication.

Reviews Jay Timothy Dolmage, Disability Rhetoric. Syracuse, New York: Syracuse University Press, 2014. 349 pp. ISBN: 9780815634454 Shannon Walters, Rhetorical Touch: Disability, Identification, Haptics. Columbia: University of South Carolina Press, 2014. 257 pp. ISBN9781611173833 Rhetoric is an ability. So begins the blithe Englishing of Aristotle's defi­ nition of rhetoric. In early translations it appears as a faculty, following the European vernaculars and the Latin translation of Aristotle's dunamis with facultas. Yet even if this translation flattens the complex significance of Aristotle's original sense, it happily brings us within the orbit of pressing problems in our own moment. We may now pose new questions: If rhetoric insists it be thought of as an ability, how might we inflect this idée reçue of the field by thinking through the meaning of rhetoric from a position of disability? This is not a matter of simple inversion. Disability is not the opposite of ability but the suspension of the assumptions of ableism. In this sense, it is like disbelief. We say we are in a 'state of disbelief' precisely when we are presented with incontrovertible evidence that commands assent. Disability rhetoric, then, seeks to illuminate the unreflective assump­ tions and heuristics that we commonly use to make judgments concerning the conditions and abilities of others. In Disability Rhetoric and Rhetorical Touch: Disability, Identification, Haptics, Jay Timothy Dolmage and Shannon Walters offer book-length elaborations of what such a rhetoric might be. The authors do not simply challenge rhetoric about disability or examine disability advocacy rhetorically, although both these aims are crucial to their projects. The authors argue that a thoroughgoing criticism of ableism requires a reexamination of rhetorical history and theory. The classical tradition's inability to think through bodily difference made it narrower than it otherwise might have been. Quintilian asserted that the limits of rhetorical education could be found in the body of the orator, "for assuredly no one can exhibit proper delivery if he lacks a memory for retaining what he has written or ready facility in uttering what he has to speak extempore, or if he has any incurable defect of utterance." Any such "extraordinary deformity of body ... cannot be remedied by any effort of art" (11.3.10). Unable to think of bodily difference as anything but deformity gave ancient rhetorical theory a Rhetorica, Vol. XXXVI, Issue 2, pp. 205-215. ISSN: 0734-8584, electronic ISSN: 15338541 . © 2018 by The International Society for the History of Rhetoric. All rights reserved. Please direct all requests for permission to photocopy or reproduce article content through the University of California Press's Reprints and Permissions web page, http://www. ucpress.edu/joumals.php?p=reprints. DOI: https://doi.org/10.1525/rh.2018.36.2.205. 206 RHETORIC A false sense of order and precision, erected upon the assumption that audience and orator could be treated as positions within a discourse rather than approa­ ched within the complexity of situated and contested embodiment. These books can be taken as complementary projects. Dolmage wishes to extend and reinterpret the repertoire and vocabulary of critical rhetoric. Walters focuses on the inventional strategies of disabled persons and their circles. This is not to say that Dolmage neglects invention or Walters criti­ cism. Disability rhetoric shows the imbrication of criticism and invention, since both rely upon practices of sensitization. We might extract six maxims to serve as guideposts for furthering this critical-inventive program. 1. Modes of communication require invention and shape meaning. The con­ stitution of communication between Annie Sullivan and Helen Keller in the now famous story of their experience at the water pump (Sullivan hand­ spelling 'water' in Keller's palm after running water over her hand, marked by Keller as her entry into language) resulted from a pragmatic awareness of possible channels of meaning-making. Walters argues that many of these possibilities reside within touch and her book serves in part as a collection of examples showing the variety and power of haptic communication. Perhaps even more importantly, a disability rhetoric would attend to the way in which the mode of communication constitutes and affects the meaning of the communication. Rather than appealing to the sensus communis...

This article reports on a multimodal podcasting unit conducted during a two-week modified summer bridge program for at-risk incoming first-year students. The examples from student work show how teaching a multimodal genre encourages writers to draw from their prior knowledge of standardized genres learned in high school to effectively transition to college composition.