The article explores the rhetorical dimensions of witnessing. We concentrate, in particular, on two groups: 1) university students at the University of San Carlos, Quetzaltenango, whose murals are dramatic reminders of the massacres that resulted in the deaths of over 200,000 indigenous people in the 1980s and early 90s and of the corrupt governmental leaders responsible for them, and 2) U.S. accompaniers sponsored by an organization within our own community, the Copper Country Guatemala Accompaniment Project (CCGAP).

Although, by the time of her death, Louise Rosenblatt was highly respected in the fields of composition and reading theory, she did not enjoy the same status among literary theorists. Yet her book The Reader, The Text, The Poem can now be seen as a precursor of contemporary literary theory’s “ethical turn.”

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The feminist approaches to technical communication that have emerged recently are largely liberal feminist or radical feminist in orientation. Liberal feminism arises out of the eighteenth-century Enlightenment and emphasizes equality and rights. It sees that women's opportunities to develop their intellects and talents and participate freely in the world of men have been thwarted by discriminatory practices. Radical feminism, in contrast, emphasizes differences between women and men, the limitations of patriarchal culture, and the characteristics of women's ways of communicating and knowing. The essays included in this issue, while multidimensional, primarily exhibit characteristics of both liberal and radical feminism.

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Modes of collaboration are gendered in the sense that they define power relationships among members of a group. In this study, the authors define three collaborative modes: dialogic, asymmetrical, and hierarchical. Dialogic and asymmetrical modes are emancipating and characterized by flexibility, open-ended inquiry, and concern for the growth and development of the individuals involved. Hierarchical modes are oppressive and are characterized by rigidity and suppression of the voices of others in the group. Two collaborative writing groups in a chemical engineering design course exemplify these modes. The first, composed of two women and two men, was primarily dialogic, and the second, composed of two women and three men, exhibited characteristics of all three modes.

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