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Animate Rhetoric, Queer Beasts: Rewilding

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Animate Rhetoric, Queer Beasts: Rewilding ANIMATE RHETORIC, QUEER BEASTS: REWILDING DOMESTICITY by Natasha Seegert A dissertation submitted to the faculty of The University of Utah in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of Communication The University of Utah May 2014 Copyright © Natasha Seegert 2014 All Rights Reserved The University of Utah Graduate School STATEMENT OF DISSERTATION APPROVAL The dissertation of Natasha Seegert has been approved by the following supervisory committee members: Kevin DeLuca , Chair 02/13/2014 Date Approved Danielle Endres , Member 03/05/2014 Date Approved Leonard Hawes , Member 02/13/2014 Date Approved Helene Shugart , Member 02/13/2014 Date Approved Stephen Tatum , Member 02/13/2014 Date Approved and by Kent Ono , Chair of the Department of Communication and by David B. Kieda, Dean of The Graduate School. ABSTRACT Boundary violations between the human and the more-than-human serve as unruly “crossings” that queer and rewild the world as we know it. Animate Rhetoric, Queer Beasts: Rewilding Domesticity explores such puncturings of our everyday worlds. Specifically, I am interested in how animals challenge and transform naturalized human boundaries and barriers. How do animals breach the boundaries surrounding anthroponormativity? Animal crossings at unsanctioned intersections have the power not simply to disrupt, but to animate the world. This project challenges the essentialist claim that rhetoric is the domain of humans, and puts forward the concept of animate rhetoric. Animate rhetoric expresses the potential that everything might be speaking: mountains conversing with wind, rain, sun and pica; chickens clucking in soil and fussing with insouciant Scrub Jays; rivers churning against asphalt and whispering amongst tree roots. Animate rhetoric does not claim that everything is speaking or that it is speaking to us, merely that there is the possibility of such engagement. Such an approach opens up a vibrant, multivocal space for encounters with animal others, rather than silencing them or forcing them to speak in human terms. These discursive productions are events which encourage us to reconsider the world as perceived from the animal’s perspective. Social media present unique avenues to consider these multiple worlds. Disruptive animals who rewild the screen reveal the importance of looking at animals, not as mere spectacle, but as animate agents who challenge humans and our own perspective of the world. These productions can challenge the boundaries surrounding the human and spark possibilities for new relationships where borderlines are incoherent and unstable. Linking images of animals together produces an unruly force that plays a role in shaping realities and serving as unexpected sites for resistance. Using case studies that span a range of species, we encounter animal others who bound into our domestic sphere via the digital screen. iv To Alf and Mia, my two peripatetic companions whose feet and paws remind me: solvitur ambulando. TABLE OF CONTENTS ABSTRACT ......................................................................................................................................... iii ACKNOWLEDGMENTS ............................................................................................................. viii INTRODUCTION ............................................................................................................................. 1 Animate Rhetoric, Animate Earth ............................................................................................. 6 A Note on Form and Tone ....................................................................................................... 19 Chapter Overviews ..................................................................................................................... 21 Chapters 1. THE CROWING OF CORAX: A FLIGHT PATH INTO ANIMATE RHETORIC IN THE DIGITAL SPHERE .......................................................................... 26 Tricksters Overhead, Tricksters on the Screen ...................................................................... 26 A Roof is not Simply a Shelter Overhead: Corvid Reappropriations ................................. 30 Always Already Animate: Supplementing Rhetorical Deficiencies ..................................... 37 Visual Punctures: Disruptions of Animate Bodies ................................................................ 46 Queer Birds of a Feather: Trailing After Totemic Guides ................................................... 55 2. TAXIDERMIED WILD: URSINE PERFORATIONS IN THE PASTORAL ............ 57 Ursine Animations in the Digital Sphere ................................................................................ 62 Framing Bruno ............................................................................................................................ 64 “Get Stuffed” and Other Responses to the Taxidermied Wild ........................................... 67 Nature Must Not Run Wild: Disciplining Unruly Bodies .................................................... 69 Queer Eye for the Bear Guy: The Fetishization of Bruno ................................................... 75 Roaring at Oppression ............................................................................................................... 78 Fixing Bear Tracks ...................................................................................................................... 84 How Green Was My Uncanny Valley: Queer Conclusions Temporarily Stilled ............... 86 3. PLAY OF “SNIFFICATION”: COYOTES SING IN THE MARGINS ...................... 89 Multiple Aliases Across Unfixed Terrains .............................................................................. 89 Coyote Tracks/Texts on the Mediated Landscape ............................................................... 95 Winter Deficiencies: The Feebleness of Furless Legs ........................................................... 97 Vernal Rewildings: The Play of Sniffication ......................................................................... 102 Summer in the Windy City: Sniffing for Presence, Finding Animate Absences ............. 109 Autumnal Conclusions: The Animal That Therefore I Howl ........................................... 118 4. CANINE PERESTROIKA: RIDING A FAST TRAIN FROM DOMESTICITY .... 123 Evolutionary Hauntings: Always Present Domesticating and Wilding ............................ 123 To Infinity and Beyond: Puncturing Boundaries ................................................................. 126 Underground Tactics: Restructuring Symbolic Systems .................................................... 128 Paws Among Fleeting Feet: Imaging the Metro Dogs ....................................................... 131 Ruptured Perspectives: The Metro from a Dogs-Eye View .............................................. 133 Disrupting Binaries: Moving Up and Down Hierarchies ................................................... 139 Beyond the Fetish: Animate “Originals” Transgressing the Network ............................. 146 Restructured Conclusions: Becoming Wolf in the Urban Wild ........................................ 151 CODA: WHEN IMAGES TAKE BITE: A PLEA FOR THE INHUMANITIES ........... 155 The Posed Self and the “Other” with Teeth ........................................................................ 155 Fist Scent, First Sight, First Bite: Already Animate ............................................................. 156 Oh the Inhumanities: Expanding Notions of Animal Selves ............................................ 159 Queering the Natural, Rewilding the Domestic ................................................................... 162 From Ecocatastrophe to Eucatastrophe: Animate Beginnings ......................................... 163 WORKS CITED .............................................................................................................................. 167 vii ACKNOWLEDGMENTS The authorship of this book extends well beyond my own fingertips. It includes fellow humans and more-than-human others whose thoughts and practices invade this text. I am particularly indebted to my dissertation chair, Kevin DeLuca, who both supported and encouraged my own unruly academic boundary violations. Kevin’s guidance was a fortuitous convergence in my academic journey that has opened up unexpected terrains of intellectual possibility. Rather than admonish me to mend holes, my committee members–Danielle Endres, Len Hawes, Helene Shugart, and Steve Tatum–encouraged me to explore those ruptures and revel in their wild alterity. I am indebted to them for their time, encouragement, and dedicated feedback that has expanded this project. Portions of this dissertation include forthcoming journal publications. I am grateful for the feedback I received from Gerard Hauser with Philosophy and Rhetoric, and Alison Anderson at Environmental Communication: A Journal of Nature and Culture. In addition, I owe thanks for the feedback received at conferences where portions of this dissertation were presented: the 84th Western States Communication Association Conference, and the 97th National Communication Association Conference. Attendance at these conferences was made possible through the generous support of the Department of Communication and the Graduate School. This dissertation was completed with the gracious financial support of the Steffensen Cannon Fellowship. I am grateful for the
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