Book Review| June 01 2018 War Comics Comics and Conflict: Patriotism and Propaganda from WWII through Operation Iraqi Freedom. By Cord A. Scott. Annapolis, MD: Naval Institute Press, 2014; pp. 224. $49.95 cloth.The Comic Art of War: A Critical Study of Military Cartoons, 1805–2014, with a Guide to Artists. By Christina M. Knopf. Jefferson, NC: McFarland, 2015; pp. 252. $39.95 paper.Disaster Drawn: Visual Witness, Comics, and Documentary Form. By Hillary L. Chute. Cambridge, MA: Belknap Press of Harvard University Press, 2016; pp. 376. $35 cloth. Christopher J. Gilbert Christopher J. Gilbert Christopher J. Gilbert is Assistant Professor of English at Assumption College in Worcester, Massachusetts. Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2018) 21 (2): 343–358. https://doi.org/10.14321/rhetpublaffa.21.2.0343 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Christopher J. Gilbert; War Comics. Rhetoric and Public Affairs 1 June 2018; 21 (2): 343–358. doi: https://doi.org/10.14321/rhetpublaffa.21.2.0343 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. © 2018 Michigan State University Board of Trustees2018 Article PDF first page preview Close Modal Issue Section: REVIEW ESSAY You do not currently have access to this content.

Meta G. CarstarphenFigure 1: Screenshot of YouTube video depicting an image of Obama grinning with a gold dental grill and gold chain necklace (Downs).University of OklahomaKathleen E. WelchUnivers...

At some point and somewhere in autumn 1862, poet Emily Dickinson saw a parade. The parade was a send-off for soldiers. One can imagine the scene: waving flags, hats, and handkerchiefs; gay explosio...

Abstract In Renaissance Rome, Pasquino was the name of a curmudgeon who earned a reputation among the popolo for circulating satirical barbs about the colloquy and conduct of politico-religious officials. Commemorated and conserved in a statue that remains his namesake, Pasquino became a figure for the civic ritual of bodying forth unease with and distaste for corrupt Italian politics. Pasquinades, or anonymous squibs posted on and around the statue, represent a tradition of transgression in and on public statuary in Italy. This essay examines the age-old Roman practice of defacing so-called “talking statues” according to its communalization of oppositional politics that both defy and defile the symbols and mainstays of public space. Specifically, I approach Pasquino as a rhetorical body and the pasquinades as bodying forth tactile, visual, and verbal inscriptions of disgust. Pasquino is monumental because he evokes popular opinion and political activity by capturing satiric commentaries on Italian public culture. Ultimately, I argue that the statuary satire of Pasquino provides a traditional space of rhetorical performance through which the iterative contours of ridicule survive in “living” symbols of resistance.

ABSTRACTThis article recovers the figure of the ancient satyr as a mythic modality of satire by reimagining Kenneth Burke's own satires as exemplary of satyric rhetoric. First, it dispels the notion that, on one hand, satire and the satyr are unrelated because of uncertain etymologies and, on the other, that satire is an inherently destructive critical enterprise. Myth is deployed as a constructive means of juxtaposing Burke's conceptualization of satyrs with that of Friedrich Nietzsche. The Helhaven satire and “Epilogue: Prologue in Heaven” are then presented as illustrations of the satyric lurking throughout Burke's philosophy. Ultimately, a case is made for the figure of the satyr as a mythic goad by which to revise our understanding of contemporary satire as a comic enterprise. The article also serves as a resource for conceiving satyric correctives as the comic corrective pushed to the end of its line.

Book Review| June 01 2012 Satire and Dissent: Interventions in Contemporary Political Debate Satire and Dissent: Interventions in Contemporary Political Debate. Amber Day. Christopher J. Gilbert Christopher J. Gilbert Search for other works by this author on: This Site Google Rhetoric and Public Affairs (2012) 15 (2): 378–381. https://doi.org/10.2307/41940580 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Christopher J. Gilbert; Satire and Dissent: Interventions in Contemporary Political Debate. Rhetoric and Public Affairs 1 June 2012; 15 (2): 378–381. doi: https://doi.org/10.2307/41940580 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. © 2012 Michigan State University Board of Trustees2012 Article PDF first page preview Close Modal You do not currently have access to this content.

Cynicism is generally considered anathema to democratic politics. This essay argues that it is a potential wellspring of constructive distrust. Diogenes of Sinope, the fountainhead of Cynic philosophy, is recollected as a means for recuperating cynicism as an attitude, and thus a mode of civic being, rather than simply a social condition. Particular attention is paid to the liberatory promise of the Cynic exercises of parrhesia (truth-telling), askesis (training), and ponos (hard work), as well as the use of chreiai (anecdotes) as critical rhetorical devices, in order to approach a more charitable and humane politics. Street and graffiti artist, Banksy, is situated as an important figure of contemporary cynic citizenship.