Abstract In this conversation series, we discuss some of the enduring and evolving interests that the subfield of visual rhetoric provokes for us. We begin with how we found visual rhetoric; questions of disciplinarity and methodology; issues of archive and field; concerns about the objects and scenes for visual rhetoric; and conclude with a focus on the future, core and evolving concepts, and pedagogy.

Other| March 01 2015 Slave Photographs in Lincoln Cara A. Finnegan Cara A. Finnegan Cara A. Finnegan is Conrad Humanities Professorial Scholar in the College of Liberal Arts and Sciences and Associate Professor of Communication at the University of Illinois at Urbana-Champaign. Her research examines the role of photography in public life. Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2015) 18 (1): 129–134. https://doi.org/10.14321/rhetpublaffa.18.1.0129 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Cara A. Finnegan; Slave Photographs in Lincoln. Rhetoric and Public Affairs 1 March 2015; 18 (1): 129–134. doi: https://doi.org/10.14321/rhetpublaffa.18.1.0129 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressRhetoric and Public Affairs Search Advanced Search The text of this article is only available as a PDF. © 2015 Michigan State University Board of Trustees. All rights reserved.2015 Article PDF first page preview Close Modal You do not currently have access to this content.

Scholars exploring the history of collaboration between English and Speech have studied the “communication courses” that emerged in the twentieth century and combined instruction in speaking and writing. The history of the Verbal Expression course at the University of Illinois challenges our dominant narratives about the origins of these courses. For example, while most scholars pinpoint their origins to World War Two, our study of the Illinois course shows that it emerged as a result of the Great Depression and the general education movement. We offer a corrective to previous histories by showing how local, institutional structures and pressures often have as much influence on pedagogy and collaboration as do external disciplinary structures. We argue that such correctives are especially valuable at a moment when rhetoricians in English and Speech are becoming more invested in combing the past for ideas about how best to collaborate in the present.

Book Review| December 01 2010 Lewis Hine as Social Critic Lewis Hine as Social Critic. Kate Sampsell-Willmann. Cara A. Finnegan Cara A. Finnegan Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2010) 13 (4): 741–745. https://doi.org/10.2307/41940515 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Cara A. Finnegan; Lewis Hine as Social Critic. Rhetoric and Public Affairs 1 December 2010; 13 (4): 741–745. doi: https://doi.org/10.2307/41940515 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressRhetoric and Public Affairs Search Advanced Search The text of this article is only available as a PDF. © 2010 Michigan State University Board of Trustees2010 Article PDF first page preview Close Modal Issue Section: Book Reviews You do not currently have access to this content.

Introduction| September 01 2010 Introduction Cara A. Finnegan; Cara A. Finnegan Search for other works by this author on: This Site Google John M. Murphy John M. Murphy Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2010) 13 (3): 343–347. https://doi.org/10.2307/41936457 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Cara A. Finnegan, John M. Murphy; Introduction. Rhetoric and Public Affairs 1 September 2010; 13 (3): 343–347. doi: https://doi.org/10.2307/41936457 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveMichigan State University PressRhetoric and Public Affairs Search Advanced Search The text of this article is only available as a PDF. © 2010 Michigan State University Board of Trustees2010 Article PDF first page preview Close Modal You do not currently have access to this content.

No Caption Needed advances a simple but powerful claim: what we see frames our experience of public life. Inviting us to consider public culture as an “optic,” or way of seeing, authors Robert Hari...

Abstract This essay studies how photographs made by the Farm Security Administration (FSA) during the Depression negotiate the complicated rhetorical space between “art”; and “documentary”; in Edward Steichen and Tom Maloney's photography journal U. S. Camera. I conclude that Steichen's insistence upon separating the documentary purposes of the FSA project from issues of aesthetics relies upon the construction of a false dichotomy that is nevertheless rhetorically productive, for it recognizes the realities of the time—that a government photography project created to publicize efforts to manage poverty could not align it self with the discourses of art and expect to survive.