Rhetoric 370: Visual Rhetoric Fall 2011 Tuesday-Thursday 9:45 – 11:00 (FAC 206)
Professor: Todd F. McDorman Office: FA205 Phone: 361-6183 (O) E-mail: [email protected] 361-5807 (H)—please do not call after 9 p.m.
Office Hours: Tuesdays and Thursdays 1:30-3:00. I am generally on campus during the week; you’re free to drop by. I also check email frequently so that is a good way to get in touch with me.
Course Description: Rhetoric is comprised of discursive and non-discursive symbols; that is, words and images. However, in reality, the rhetorical tradition has been much more adept and comfortable studying words—discourses—than visual images. Recently, though, scholars have begun to devote increased attention to the rhetorical dimensions of visual images. One might go so far as to claim that there is a “visual-turn” under way in the interdisciplinary study of iconic images, photographs and photojournalism, art work, editorial cartoons, monuments, memorials, and other visual artifacts. Such work exposes the interesting and complex relationships between rhetoric, images, memory, identity, and citizenship. This seminar style course will explore the literature devoted to visual rhetorics, develop vocabularies and techniques for critiquing visual culture, and seek to understand the role images play in our constructions of citizenship in liberal- democratic public culture. During the course of the semester students will engage in a series of studies of various visual images, of different types, from various disciplinary perspectives, and using a range of analytical tools.
Course Goals: This course reflects the curricular goals of the Rhetoric Department and contributes to your fulfillment of the principles embodied in the Wabash Mission Statement and Preamble to the Curriculum in the following ways: 1. CONTENT: This course will contribute to your understanding of the intellectual history of rhetoric by examining how the field has evolved to consider visual images and the relationship of visual and verbal rhetorics. 2. THINKING SKILLS: Through the evaluation of visual artifacts and development of analytical written analyses of these artifacts, this course will contribute to your abilities in analytical reasoning and argumentation. 3. CLEAR WRITTEN AND ORAL EXPRESSION: Through the development of a series of essays, a final presentation of student research, and regular discussion participation, this course will contribute to the oral and written skills needed to communicate effectively and ethically. 4. RHETORICAL METHODS: By deepening your understanding of rhetoric and rhetorical theory, including developing a vocabulary and set of techniques for critiquing visual artifacts, this course provides tools of analysis and evaluation that can be used to generate and answer significant questions about public discourse. 2
5. RHETORIC AND DEMOCRATIC CITIZENSHIP: By studying iconic images of American culture with an eye toward how they contribute to our understanding and production of democratic culture, this course advances your understanding of the role of rhetoric in the productive functioning of democracy and the practice of citizenship. 6. INDEPENDENT INTELLECTUAL INQUIRY: With its research expectations, this course contributes to improved information literacy.
Required Materials:
Robert Hariman and John Louis Lucaites, No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy (University of Chicago Press, 2007).
Additional readings will be posted on Moodle, distributed in class, or conveyed via other means. Many of the readings may be accessed via Lilly Library’s subscription to the database Communication and Mass Media Complete. Please purchase a large three-ring binder for organized storage of these readings. Also note, the additional readings for this course comprise approximately 400 pages in length so you likely will want to add money to your printing account (even more so if you print some of the images in color).
Assignments Grading Scale______Participation 150 points A 930-1000 Reading Précis (10 @10 points each) 100 points A- 900-929 Short essays 200 points B+ 870-899 Semester project B 830-869 Preliminary Coding 75 points B- 800-829 Lit Review & Rhet. Theory 75 points C+ 770-799 Final Essay 200 points C 730-769 Research Presentation 100 points C- 700-729 Final Exam 100 points D 600-699 Total 1000 points F 0-599
Participation (150 points): This is a discussion based class in which your participation and attendance are expected. Most class sessions will be devoted to discussion of the day’s reading, gaining an understanding of the theoretical concepts used to read images, discussing and evaluating arguments in the readings, and providing in-class critiques of relevant, related images.
You are permitted two absences during the course of the semester. Additional absences will be excused if proper documentation (such as a Dean’s Excuse, a note from the health center, etc.) is provided. It is much easier to address attendance issues (illnesses etc.) as they develop than it is when you return from an extended absence during which you made no effort to contact me. Stuff happens, students sometimes have to miss class, together we should be able to deal with it. 3
Reading Précis (100 points): During the semester you will develop reading responses for 10 class sessions. Each précis should consist of four elements: (1) In a healthy paragraph (or two at the most), engage and respond to the main points and arguments in the reading. That is, you should briefly critique the reading rather than summarize it. (2) In a list fashion, identify and define the tools for critique that are provided in the reading. This will help you assemble a list of critical vocabulary that will be useful in your critiques of visual images. (3) In a single paragraph, comment on the relationship of the individual reading to other readings in the course —how does it relate to, advance, or fall short of other readings and ideas we have addressed. (4) Write two discussion questions that you could share in class if requested to do so. Each response should be no more than 2 pages in length.
You are required to post your entries to Moodle by the start of class on the day we discuss the particular reading. One purpose behind the responses is to help you prepare for class discussion. The reading responses are also intended to be a resource for your papers by identifying specific rhetorical theories, concepts, and tools that may be of help in constructing your papers. Finally, you should take care in the quality of your writing in the responses. That is to say, the quality of your writing matters; the writing should be polished and technically accurate in grammar and content.
Short Essays (200 points): During the first half of the semester you will write two short essays of approximately five to seven pages. The essays are designed to begin to develop your analytical skills and approaches to visual images. We may use these papers to engage in group discussion of relevant images. The topics for these papers are likely to be drawn from images in the news, current editorial cartoons, campus art, or appropriations and images related to course readings. Short Essay 1 is due September 20. Short Essay 2 is due October 7.
Visual Rhetoric Project (450 points): During the second half of the semester, the bulk of your energy will be devoted to developing a substantial rhetorical critique of a visual image, set of visual images, or issue/controversy that is explained visually. As you read the case studies during the course, you will find that there are a variety of approaches and perspectives you might apply to your selected topic, as well as a vast array of project possibilities. This will be a research essay and will require you to draw from communication journals and contextual materials. The project consists of five parts:
Topic Proposal: The project begins with a brief proposal that identifies the artifact(s) under analysis and explains your interest in the topic and why you think it is significant or stands to make for a good project topic. Due October 20.
Preliminary Coding (75 points): For this part of the project you will work through a generative coding process, forming key observations and ideas from an examination of your selected artifact and offering preliminary reflections of a methodological and critical nature. This is a reflective process that has you put your initial ideas on paper in preparation for the final essay. This paper should include an introduction that identifies interest in the topic and a potential thesis, paragraphs that explain your thinking and process, thematically organized lists of items that reflect your coding of visuals in the 4
artifact, and a conclusion that suggests future directions and possible theoretical influences. Approximately five pages in length. Due November 1.
Rhetorical Method (75 points): In approximately five pages, you will develop and explain a methodology for reading your visual images. This part of the paper consists of (1) reviewing relevant literature on the rhetorical critique of similar visual artifacts and (2) constructing and explaining a method for your critique. The motivating questions here are: what concepts, tools, and/or theories will allow me to best explain the features identified during the coding process? Then, in the final essay, you will apply the theoretical ideas to the image(s), developing the ideas found in your preliminary coding (that is to say, this paper is not analysis of the artifact but, rather, preparation for the analysis). Due November 17.
Final Essay (200 points): Finally, you will combine your rhetorical method with the ideas generated in the preliminary coding to develop an extended and substantially revised rhetorical analysis. This 15 page essay should make an argument about the meaning and implications of the visual artifact(s) and the critique should be guided by the identified method or theories. Due December 6.
Research Presentation (100 points): At the close of the semester you will present your research project to the class in a 10 to 12 minutes speech, discussing how it advanced your understanding of visual rhetorics and offering an argument regarding its meaning. In advance of the presentation you should provide class members with access to relevant visual images or artifacts that form the basis of your critique.
Final Exam (100 points): There will be one exam at the conclusion of the course. The exam may consist of a combination of short answer and essay questions, ranging from term/theory definitions to reflections on the meaning of visual rhetoric, to the critique of an artifact.
Late assignments: It is expected that assignments will be completed on time. If a problem arises contact me as soon as possible—it is much easier to correct a situation in advance than to attempt to devise a solution after the fact. If it is an appropriate hour, call me; you can always send me an email. Late papers will be assessed a penalty of 10% for each day late. Reading responses must be submitted on time for credit.
The Gentleman’s Rule impacts this course in several ways, but particularly concerning academic honesty. Copying material without appropriate citation, cheating during an exam, submitting material you previously did for another course, and submitting an essay which does not represent your own original work are four examples of rule violations. If you have any questions or doubts about the permissibility of a practice or conduct, discuss it with me in advance of your assignment.
Electronic Devices: Your cell phone should be silenced and put away during all class sessions (including exams). If your cell phone rings during class, I will be unhappy; if it rings while a 5 student is giving a presentation you will lose one letter grade off of your own presentation of the given assignment. You also will not send or read text messages during class.
If you prefer to use a laptop in class, you should only use your computer to take class notes or access the class readings. You will not use e-mail, check or post to social networking sites, or surf the web. If you are seen using your laptop for non-class uses, I reserve the right to dismiss you from class and ban you from future use of a computer during class.
Disabilities: Students with disabilities (apparent or invisible) are invited to confidentially discuss their situation with me and/or the Director of Academic Support Services, Ms. Rosenberg. If a student wishes an academic accommodation, it is required that his documentation of the disability be on file with Ms. Rosenberg, who can, in confidence, provide information and guidance. Early notification helps us all work together in the most effective ways. Ms. Rosenberg can be reached at her office (Armory 101B), by phone (X6024), or by email ([email protected]).
Emergency Procedures: In case of a fire, we are to proceed from the classroom, go downstairs to the nearest exit, and move at least 50 yards away from the building. You should join me and your classmates outside to make sure that everyone got out of the building okay. Then we will move as a group to the Chapel to report to the emergency personnel in charge. In the event of a severe weather storm, we are to proceed to the basement and shelter in the basement hallway.
The Writing Center is a valuable resource. It provides one-on-one assistance for your writing from a qualified peer tutor. The Center is open to all students, for any assignment, at any stage in the writing process. You do not have to make an appointment, but doing so will ensure that you can be seen. Your use of the Center is voluntary, but I encourage you to take advantage of this service. The Center is located in the Armory, room 101A and is open during the following hours: M 12-4; T 11-4; 8-10 p.m.; W 12-4; 8-10 p.m.; Th. 11-4; F 1-4; S 8-10 p.m. The phone number for the Center is 361-6258 and the Director is Ms. Julia Rosenberg.
Organization: The course is organized in six units. The first unit orients you to the study of visual rhetorics. Units two through five focus on different areas of and/or approaches to the study of visual symbols The final unit is a discussion of student research.
Preliminary Schedule of Classes
Date Topic Reading
I. Visualizing Rhetoric
R Aug. 25 Course Introduction
T Aug. 30 Approaching Visual Artifacts Olson, Finnegan, & Hope, 1-14 Helmers & Hill, 1-23 6
R Sept. 1 Introduction to Iconic Images Hariman & Lucaites, Ch. 1 (1-24)
Date Topic Reading
T Sept. 6 Public Culture, Icons, and Hariman & Lucaites, Ch. 2 (25-48) Iconoclasts
R Sept. 8 Two views on the Migrant Mother Lester, 246-252 Hariman & Lucaites, 49-66
T Sept. 13 The Politics of Queer Public Kissing Morris & Sloop
R Sept. 15 The Times Square Kiss Hariman & Lucaites, 67-92
T Sept. 20 Visuals Arts and Visual Rhetoric TBD Short Essay 1 Due
II. Visual Memory
R Sept. 22 Introduction to Visual Memories Olson, Finnegan, & Hope, 99-102 Zelizer, 1-15
T Sept. 27 Iwo Jima in Editorial Cartoons Edwards & Winkler
R Sept. 29 Performing Civic Identity Hariman & Lucaites, Ch. 4 (93-136)
T Oct. 4 Covering Atrocity in Image Zelizer, 86-140
R Oct. 6 The Paintings of Samuel Bak Fewell & Phillips, 75-91 Fewell & Phillips, 92-123
F Oct. 7 Short Essay 2 Due
T Oct. 11 Trauma and Public Memory: Hariman & Lucaites, Ch. 6 (171-207) Accidental Napalm
R Oct. 13 Fall Break
T Oct. 18 Vietnam Veterans Memorial Blair, Jeppeson, & Pucci
III. Visualizing Resistance 7
R Oct. 20 Dissent and Emotional Management: Hariman & Lucaites, Ch. 5 (137-170) Kent State Submit Project Proposal
Date Topic Reading
T Oct. 25 Liberal Representation and Global Hariman & Lucaites, Ch. 7 (208-242) Order: Tiananmen Square
R Oct. 27 Self-Immolation as Protest: Yang The Burning Monk
T Nov. 1 The Guerilla Girls Demo, 241-255 Coding Due
R Nov. 3 The Corpse of Emmett Till Harold and DeLuca 257-272
T Nov. 8 iPod Silhouette Campaign as Cooper Representative Form
IV. Visuals of the Body
R Nov. 10 Depicting Female Athletes Duncan Daddario Kane
T Nov. 15 Tattoo and Piercing: Reflections Chao on Mortification
R Nov. 17 Self-Stigmatization: HIV/AIDS Brouwer Tattoos Method Due
T Nov. 30 Visual Rhetoric: Conclusion Hariman & Lucaites, 287-305 Messaris
V. Student Scholarship
R Dec. 1 Research Presentations As selected by presenters
T Dec. 6 Research Presentations As selected by presenters Final Essay Due
R Dec. 8 Research Presentations As selected by presenters 8
Final Exam: Tuesday December 13 at 9:00 a.m. 9
RHE 370: Visual Rhetoric Fall 2011 Course Bibliography
Blair, Carole, Marsh S. Jeppeson, and Enrico Pucci, Jr. “Public Memorializing in Postmodernity: The Vietnam Veterans Memorial as Prototype.” Quarterly Journal of Speech 77 (1991): 263-288. Chao, Phebe Shih. “Tattoo and Piercing: Reflections on Mortification.” Rhetorics of Display. Ed. Lawrence J. Prelli. Columbia, SC: U of South Carolina P, 2006. 327-343. Daddario, Gina. “Swimming Against the Tide: Sports Illustrated’s Imagery of Female Athletes in a Swimsuit World.” Women’s Studies in Communication 15 (1992): 49-64. Demo, Anne Teresa. “The Guerrilla Girls’ Comic Politics of Subversion.” Visual Rhetoric: A Reader in Communication and American Culture. Eds. Lester C. Olson, Cara A. Finnegan, and Diana S. Hope. Los Angeles: SAGE, 2008. 241-255. Duncan, Margaret Carlisle. “Sports Photographs and Sexual Difference: Images of Women and Men in the 1984 and 1988 Olympic Games.” Sociology of Sport Journal 7 (1990): 22- 43. Edwards, Janis L. and Carol K. Winkler. “Representative Form and the Visual Ideograph: The Iwo Jima Image in Editorial Cartoons.” Quarterly Journal of Speech 83 (1997): 289-310. Fewell, Danna Nolan and Gary A. Phillips. “Bak’s Impossible Memorials: Giving Face to the Children.” Representing the Irreparable: the Shoah, the Bible, and the Art of Samuel Bak. Eds. Gary A. Phillips, Danna Nolan Fewell, and Yvonne Sherwood. Syracuse, NY: Syracuse UP, 2008. 93-123. Fewell, Danna Nolan and Gary A. Phillips. “Genesis, Genocide, and the Art of Samuel Bak: ‘Unseamly’ Reading After the Holocaust.” Representing the Irreparable: the Shoah, the Bible, and the Art of Samuel Bak. Eds. Gary A. Phillips, Danna Nolan Fewell, and Yvonne Sherwood. Syracuse, NY: Syracuse UP, 2008. 75-91. Hariman, Robert and John Louis Lucaites, No Caption Needed: Iconic Photographs, Public Culture, and Liberal Democracy. Chicago: U of Chicago P, 2007. Harold, Christine and Kevin Michael DeLuca. “Behold the Corpse: Violent Images and the Case of Emmett Till.” Rhetoric & Public Affairs 8 (2005): 263-286. Helmers, Marguerite and Charles A. Hill. “Introduction.” Defining Visual Rhetorics. Eds. 10
Charles A. Hill and Marguerite Helmers. Mahwah, NJ: Lawrence Erlbaum Associates, 2004. 1-23. Kane, Mary Jo. “Sex Sells Sex, Not Women’s Sports.” The Nation. July 27, 2011,