DOCSLIB.ORG

1 the Rhetoric of Desiring-Surveillance In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 the Rhetoric of Desiring-Surveillance In THE RHETORIC OF DESIRING-SURVEILLANCE IN THE AGE OF ELECTRACY By SCOTT SUNDVALL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1 © 2016 Scott Sundvall 2 ACKNOWLEDGEMENTS I wish to thank, first and foremost, my dissertation director and mentor, the Sage, the Wizard, Gregory Ulmer, whose work inspired my research long before I arrived in Florida and motivated me to apply to and attend the University of Florida. I also thank my wife, Katherine Fredlund, for her unconditional support (in various capacities) during my doctoral work, especially when we had to live apart for several years. I want to also thank my family for understanding the worthiness of an intellectual pursuit in the Humanities. I thank my dissertation committee—and Laurie Gries in particular—for their mentorship and assistance in my professional development. Last, but not certainly not least, I thank my colleagues, especially as I am beyond fortunate to have so many that I could never list them all. 3 TABLE OF CONTENTS page ACKNOWLEDGEMENTS……………………………………………………………………..3 LIST OF FIGURES……………………………………………………………………………..6 ABSTRACT……………………………………………………………………………………..8 CHAPTER 1 OPERATIC INTRODUCTION, OR, PLEASE BE SEATED………………………….9 (Another Boring) Program (To Be Tossed)……………………………………………..9 Actors and Production Staff and Crew……………………………………….....12 Summary of Chapters/Acts……………………………………………………...12 Overture: A Death, Perhaps a Suicide, and the Rhetoric of How We Mourned…….…..15 Overture, Part One: Electracy ……………………………….………………….15 Overture, Part Two: Rhetoric and Composition………………………………...20 Overture, Part Three: Schizoanalysis………………………………….………..26 Overture, Part Four: Surveillance…………………………………….……........33 Overture, Part Five: Subjectivity………………………………………………..39 2 ACT 1: BECOMING-LAS MENINAS: THE RELATIONAL BIRTH OF MODERN SUBJECTIVITY, DESIRE-AESTHETICS, AND THE RHETORICAL LOGIC OF SURVEILLANCE……………………………………………………………………………...49 Surveillance in Mezzo-Soprano…………………………………………....……….….50 Surveillance in Opera Seria……………………………………………………………52 Tenor……………………………………………….……………....…….…….52 Countertenor……………………………………………………….…………..55 Surveillance Aria…………………………………………………….………...60 Vibrato…………………….………………………………….……......60 Portamento…………………………………………………….……….62 Vibrato Redux …………………...…………………………….…….…65 Cadenza: Strategies…………………………………………….………70 3 ACT 2: THE FANTASY AND RHETORIC OF FEAR: THE PARANOIAC TENDENCY OF DESIRING-SURVEILLANCE………………………………………….…77 Surveillance in Basso Profundo…………………………………………..…………...77 Cabaletta: The Magic of Paranoia and Social Media Platforms……………………....86 4 Recitativo: Electrate Paranoia………………………………………..……………....92 Consuming the Rhetoric of Paranoia: COPS and America’s Most Wanted…………………………………………………………………......…92 Appropriating Paranoiac Desiring-Surveillance: “If You See Something, Say Something”………………………………………………..……………..98 The Fascist We Desire, Deserve: Dredd………………………...………..….105 Surveillance Diva: Becoming-Brand in the Age of Electracy…………….…..…..…109 Surveillance in Bel Canto: Desire-Aesthetics against Subject-Ethics…..……………117 4 ACT 3: THREE RHETORICAL FIGURES, OR, TO SCHIZ THE PARANOIAC FACE OF RHETORIC AND WRITING STUDIES IN THE AGE OF ELECTRACY…….......….122 Canzone: After This Rhetoric, There Will Be This Other Rhetoric Which Came Before, Which We Think Should Come After(,) Now………………………………..…..….122 Supernumerary: The Electeur: The Rhetoric of Walking in Digital Space without a Face……………………………………………………………………….………..127 Helden: (E)choro: Heuretic Heretic……………………………………..….………..138 Prima Donna, Trouser Role: The Aumateur: The Everyday Rhetorical Artist…..…..151 5 FINALE: SURVEILLANT MONTAGE AND THE RHETORIC THEREIN…..…..164 Introduction: Beginning of the End……………………………………………..…….164 Rhetorical Figures: Revue………………………………………………....………….168 Double Aria, One: Paranoid-Critical Method (Another Note on Strategy)….………..172 Double Aria, Two: Rhetorically Escaping into Yourself (Yet Another Note on Strategy)………………………………………………………………………….....…176 Dramaturg: Deleuzians against Deleuzians; Deleuze against Deleuze; for Deleuze……………………………………………………………………......………179 Tessitura: After Media, Within Speculation, before Judgment Day………..…….…..187 Melodrama: The Future of Rhetoric and Technology……………………..………….190 Encore Ensemble: Celebrity Nude Leaks……………………………………………..196 BIBLIOGRAPHY…………………………………………………………………….…….…209 BIOGRAPHICAL SKETCH………………………………………………………………….217 5 LIST OF FIGURES Figure page 1-1 Electracy chart……………………………………………………………….18 2-1 Las Meninas…………………………………………………………………52 2-2 Las Meninas and panopticon ……………………………………………….54 2-3 Las Meninas and social media………………………………………………62 2-4 Electracy chart……………………………………………………………....63 2-5 Rhizomatic Las Meninas……………………………………………………65 2-6 Portrait of Pope Innocent X…………………………….…………………..73 2-7 Study after Velazquez’s Portrait of Pope Innocent X………………………73 2-8 Las Meninas under erasure…………………………………..……………..76 3-1 Wizard of Oz…………………………………...……………………………88 3-2 COPS…………………………………………………………………..……92 3-3 America’s Most Wanted…………………………………………………….94 3-4 Advisory system…………………………………………..………………..99 3-5 If you see something……………………………………………….……….102 3-6 Dredd emblem………………………………………...………….………...106 3-7 Dredd surveillance……………………………………………….………...106 3-8 Nietzschean profile……………………………………………….………...112 3-9 Stealth wear…………………………………………………….…………..120 4-1 The Usual Suspects…………………………………………….……….…..139 4-2 They Live…………………………………………………………...……….151 5-1 Ubiquitous vertical desiring-surveillance…………………………………...169 6 5-2 Ubiquitous horizontal desiring-surveillance……………………………….170 5-3 Nomadic/schizoid desiring-surveillance…………………………………...170 5-4 Classical surveillance……………………….………………………………171 5-5 Modern surveillance………………...………………………………………171 5-6 Electrate surveillance……………………………………………………….171 7 Abstract of Dissertation Presented to the Graduate School of the University of Florida in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy THE RHETORIC OF DESIRING-SURVEILLANCE IN THE AGE OF ELECTRACY By Scott Sundvall August 2016 Chair: Gregory Ulmer Major: English This dissertation examines the rhetoric of surveillance as a concept and a practice, and it further uncovers how surveillance modalities can be understood, appropriated, and applied to theories and pedagogies of rhetoric and writing studies. Using Gilles Deleuze and Félix Guattari’s schizoanalysis as methodology, my dissertation argues that surveillance is a concept and practice that is desired (desiring-surveillance) rather than something that is or should be resisted. Couched within the context of Gregory Ulmer’s electracy and Victor Vitanza’s desire- aesthetics of the Third Sophistic, and staged with an operatic form, my dissertation considers the historical development and present state of subjectivity and its relationship to surveillance and rhetoric and writing studies. 8 CHAPTER 1 OPERATIC INTRODUCTION, OR, PLEASE BE SEATED (Another Boring) Program (To Be Tossed) …my Dionysian world of the eternally self-creating, the eternally self-destroying…. —Friedrich Nietzsche This suggests one final approach to the Text, that of pleasure. —Roland Barthes WARNING (FROM THE CENTRAL SCRUTINIZER): Sitting too close to the Entertainment can cause the Entertainment to see you as easily as you can see the Entertainment; you may blur with and into the Entertainment, causing paranoia, self-scrutiny, narcissism, fear and trembling, vertigo. Though you might also enjoy this blurring, causing ecstasy, excess, schizoid leaps, vertigo. With fair warning, we say: either way, “a very good schizo dream. To be fully a part of the crowd and at the same time completely outside it, removed from it: to be on the edge, to take a walk like Virginia Woolf (never again will [you] say, “I am this, I am that).”1 Either way, take a tip from Joe: desire-aesthetics “can get you pretty fucked up.” Do note: any and all violations will be marked on your permanent record, catalogued and stored here. (Yes, right here).2 “Surveillance by the face, as Strindberg said:” We are watching you.3 This opera intends to investigate the intersections of rhetoric and writing studies, electracy, and surveillance. As an initial point of departure, the opera will seek a recovery and rethinking of the term “surveillance” itself (not just what does it mean, but how does it work), its emerging iterations and modalities within the digital institution, and its implications for the 1 Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia (Minneapolis: The University of Minnesota Press, 1987), 29. 2 See: Frank Zappa’s Joe’s Garage (1979). The concept album, appropriated and remixed here as well as in the formative section of all Acts and the Intermission, follows the narrative of Joe, a fledgling rock and roll musician, caught in a dystopic world where music is criminalized. The album opens with, and repeatedly employs, the voice of the Central Scrutinizer to introduce narrative shifts and to give general warnings. 3 Deleuze and Guattari, A Thousand Plateaus, 115. 9 theory, practice, and pedagogy of rhetoric and writing studies. We intend to broaden the concept of “surveillance” beyond its common articulation in terms exclusive to State surveillance (government) and Capital (corporate) surveillance (e.g., data-mining practices often referred to as “dataveillance”)—both of which concern vertical, top-down surveillance modalities—and extend it to everyday electrate
Load more

Recommended publications
  • Applying Theories of Digital Rhetoric, Procedural Rhetoric, and Electracy To
    University of Texas at El Paso DigitalCommons@UTEP Open Access Theses & Dissertations 2018-01-01 Rethinking Multimodality In First-Year Composition: Applying Theories Of Digital Rhetoric, Procedural Rhetoric, And Electracy To Multimodal Assignments Jennifer Falcon University of Texas at El Paso, [email protected] Follow this and additional works at: https://digitalcommons.utep.edu/open_etd Part of the Rhetoric Commons Recommended Citation Falcon, Jennifer, "Rethinking Multimodality In First-Year Composition: Applying Theories Of Digital Rhetoric, Procedural Rhetoric, And Electracy To Multimodal Assignments" (2018). Open Access Theses & Dissertations. 1426. https://digitalcommons.utep.edu/open_etd/1426 This is brought to you for free and open access by DigitalCommons@UTEP. It has been accepted for inclusion in Open Access Theses & Dissertations by an authorized administrator of DigitalCommons@UTEP. For more information, please contact [email protected]. RETHINKING MULTIMODALITY IN FIRST-YEAR COMPOSITION: APPLYING THEORIES OF DIGITAL RHETORIC, PROCEDURAL RHETORIC, AND ELECTRACY TO MULTIMODAL ASSIGNMENTS JENNIFER ANDREA FALCON Doctoral Program in Rhetoric and Composition APPROVED: Beth Brunk-Chavez, Ph.D., Chair Laura Gonzales, Ph.D. William Robertson, Ph.D. Charles Ambler, Ph.D. Dean of the Graduate School Copyright © by Jennifer Andrea Falcon 2018 Dedication This dissertation is dedicated to my grandfather, José Franco Sandoval. Grandpa, your devotion to hard work and education will always guide me. RETHINKING MULTIMODALITY IN FIRST-YEAR
    [Show full text]
  • Digital Humanities Pedagogy: Practices, Principles and Politics
    To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/161 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Digital Humanities Pedagogy: Practices, Principles and Politics Edited by Brett D. Hirsch http://www.openbookpublishers.com © 2012 Brett D. Hirsch et al. (contributors retain copyright of their work). Some rights are reserved. The articles of this book are licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported Licence. This license allows for copying any part of the work for personal and non-commercial use, providing author attribution is clearly stated. Details of allowances and restrictions are available at: http://creativecommons.org/licenses/by-nc-nd/3.0/ As with all Open Book Publishers titles, digital material and resources associated with this volume are available from our website at: http://www.openbookpublishers.com/product/161 ISBN Hardback: 978-1-909254-26-8 ISBN Paperback: 978-1-909254-25-1 ISBN Digital (pdf): 978-1-909254-27-5 ISBN Digital ebook (epub): 978-1-909254-28-2 ISBN Digital ebook (mobi): 978-1-909254-29-9 Typesetting by www.bookgenie.in Cover image: © Daniel Rohr, ‘Brain and Microchip’, product designs first exhibited as prototypes in January 2009. Image used with kind permission of the designer. For more information about Daniel and his work, see http://www.danielrohr.com/ All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the Endorsement of Forest Certification Schemes) Certified.
    [Show full text]
  • Collin College in May 20162—
    Appellate Case: 18-6102 Document: 010110085921 Date Filed: 11/19/2018 Page: 1 Case No. 18-6102/ 18-6165 In the United States Court of Appeals for the Tenth Circuit ___________________ DR. RACHEL TUDOR, Plaintiff-Appellant/Cross-Appellee v. SOUTHEASTERN OKLAHOMA STATE UNIVERSITY AND REGIONAL UNIVERSITY SYSTEM OF OKLAHOMA, Defendants-Appellees/Cross-Appellants ___________________ On Appeal from the United States District Court for the Western District of Oklahoma, Case No. 5:15-cv-324-C, Hon. Robin Cauthron ___________________ PLAINTIFF-APPELLANT/CROSS-APPELLEE DR. RACHEL TUDOR’S APPENDIX VOLUME 3 OF 9 ___________________ EZRA ISHMAEL YOUNG BRITTANY M. NOVOTNY LAW OFFICE OF EZRA YOUNG NATIONAL LITIGATION LAW GROUP 30 Devoe Street, #1A PLLC Brooklyn, NY 11211 2401 NW 23rd St., Ste. 42 (949) 291-3185 Oklahoma City, OK 73107 [email protected] (405) 896-7805 [email protected] MARIE EISELA GALINDO LAW OFFICE OF MARIE E. GALINDO Wells Fargo Bldg. 1500 Broadway, Ste. 1120 Lubbock, TX 79401 (806) 549-4507 [email protected] Attorneys for Plaintiff-Appellant/Cross-Appellee Case No. 18-6102/ 18-6165 Appellate Case: 18-6102 Document: 010110085921 Date Filed: 11/19/2018 Page: 2 VOLUME 3 TABLE OF CONTENTS 15-CV-324-C – Relevant Docket Entries Appendix Filer Date of Doc Title of Pleading Pg. # Filing # 001-010 Plaintiff 12/29/2017 271 Reply to Defendants’ Opposition to Reinstatement 011-026 Plaintiff 12/29/2017 271- Reply to Response to 1 Motion for Order for Reinstatement Exhibit 1 Tudor Declaration 027-116 Plaintiff 12/29/2017 271- Reply
    [Show full text]
  • Composition Studies 42.1 (2014) from the Editor Hat’S the Best Part of Your Job?” a Student in Advanced Composition “Wasked Me This Question Last Week
    Volume 42, Number 1 Spring 2014 composition STUDIES composition studies volume 42 number 1 Composition Studies C/O Parlor Press 3015 Brackenberry Drive Anderson, SC 29621 New Releases First-Year Composition: From Theory to Practice Edited by Deborah Coxwell-Teague & Ronald F. Lunsford. 420 pages. Twelve of the leading theorists in composition stud- ies answer, in their own voices, the key question about what they hope to accomplish in a first-year composition course. Each chapter, and the accompanying syllabi, pro- vides rich insights into the classroom practices of these theorists. A Rhetoric for Writing Program Administrators Edited by Rita Malenczyk. 471 pages. Thirty-two contributors delineate the major issues and questions in the field of writing program administration and provide readers new to the field with theoretical lenses through which to view major issues and questions. Recently Released . Writing Program Administration and the Community College Heather Ostman. The WPA Outcomes Statement—A Decade Later Edited by Nicholas N. Behm, Gregory R. Glau, Deborah H. Holdstein, Duane Roen, & Edward M. White. Writing Program Administration at Small Liberal Arts Colleges Jill M. Gladstein and Dara Rossman Regaignon. GenAdmin: Theorizing WPA Identities in the Twenty-First Century Colin Charlton, Jonikka Charlton, Tarez Samra Graban, Kathleen J. Ryan, & Amy Ferdinandt Stolley and with the WAC Clearinghouse . Writing Programs Worldwide: Profiles of Academic Writing in Many Places Edited by Chris Thaiss, Gerd Bräuer, Paula Carlino, Lisa Ganobcsik-Williams, & Aparna Sinha International Advances in Writing Research: Cultures, Places, Measures Edited by Charles Bazerman, Chris Dean, Jessica Early, Karen Lunsford, Suzie Null, Paul Rogers, & Amanda Stansell www.parlorpress.com 2013–2014 Reviewers A journal is only as good as its reviewers.
    [Show full text]
  • ENC 1136: Multimodal Writing & Digital Literacy ENC1136
    ENC 1136: Multimodal Writing & Digital Literacy ENC1136 (Section 9122, Class 23684, SP20) Brandon Murakami MWF:3 (9:35-10:25a) [email protected] Room: M: WEIL 408D / WF: WEIL 408E OH: TBA COURSE DESCRIPTION Multimodal Composition teaches digital literacy and digital creativity. This course teaches students to compose and circulate multimodal documents in order to convey creative, well- researched, carefully crafted, and attentively written information through digital platforms and multimodal documents. This course promotes digital writing and research as central to academic, civic, and personal expression. COURSE OBJECTIVES Multimodal writing objectives are designed to teach students how to compose, revise, and circulate information in digital forms. The course emphasizes: • Applying composing processes in digital forms • Demonstrating invention/creativity approaches when working with digital resources and tools • Choosing which digital tools best serve contextual needs • Creating documents in six different forms that contribute to multimodal production (see below) • Using problem-solving methods to navigate digital tools • Appraising methods for self-guided learning about emerging digital tools (i.e. learning how to learn) REQUIRED MATERIALS Note: Many of the “readings” assigned in this class will be online tutorials for using the digital tools needed to compose, produce, and circulate the assigned documents. Because the course focuses on hands-on, active production, the focus of readings often will be tutorials and student work for critique. All texts will be provided on our course website on Canvas. GENERAL EDUCATION OBJECTIVES: COMPOSITION (C) Composition courses provide instruction in the methods and conventions of standard written English (i.e. grammar, punctuation, usage) and the techniques that produce effective texts.
    [Show full text]
  • The History of Rock Music - the Eighties
    The History of Rock Music - The Eighties The History of Rock Music: 1976-1989 New Wave, Punk-rock, Hardcore History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page (Copyright © 2009 Piero Scaruffi) Singer-songwriters of the 1980s (These are excerpts from my book "A History of Rock and Dance Music") Female folksingers 1985-88 TM, ®, Copyright © 2005 Piero Scaruffi All rights reserved. Once the effects of the new wave were fully absorbed, it became apparent that the world of singer-songwriters would never be the same again. A conceptual mood had taken over the scene, and that mood's predecessors were precisely the Bob Dylans, the Neil Youngs, the Leonard Cohens, the Tim Buckleys, the Joni Mitchells, who had not been the most popular stars of the 1970s. Instead, they became the reference point for a new generation of "auteurs". Women, in particular, regained the status of philosophical beings (and not only disco-divas or cute front singers) that they had enjoyed with the works of Carole King and Joni Mitchell. Suzy Gottlieb, better known as Phranc (1), was the (Los Angeles-based) songwriter who started the whole acoustic folk revival with her aptly-titled Folksinger (? 1984/? 1985 - nov 1985), whose protest themes and openly homosexual confessions earned her the nickname of "all-american jewish-lesbian folksinger". She embodied the historic meaning of that movement because she was a punkette (notably in Nervous Gender) before she became a folksinger, and because she continued to identify, more than anyone else, with her post- feminist and AIDS-stricken generation in elegies such as Take Off Your Swastika (1989) and Outta Here (1991).
    [Show full text]
  • ULMER - Introduction: Electracy 1 to Comment on SPECIFIC PARAGRAPHS, Click on the Speech Bubble Next to That Paragraph
    ULMER - Introduction: Electracy 1 To comment on SPECIFIC PARAGRAPHS, click on the speech bubble next to that paragraph. There is an analogy for what we are doing when we collaboratively explore the possibilities of new media. We are to the Internet what students of Plato and Aristotle were to the Academy and Lyceum. When the Greeks invented alphabetic writing they were engaged in a civilizational shift from one apparatus to another (from orality to literacy). They invented not only alphabetic writing but also a new institution (School) within which the practices of writing were devised. Here is the salient point: all the operators of “science” as a worldview had to be invented, by distinguishing from religion a new possibility of reason. Electracy similarly is being invented, not to replace religion and science (orality and literacy), but to supplement them with a third dimension of thought, practice, and identity. “Electracy” is to digital media what literacy is to alphabetic writing: an apparatus, or social machine, partly technological, partly institutional. We take for granted now the skill set that orients literate people to the collective mnemonics that confront anyone entering a library or classroom today. Grammatology (the history and theory of writing) shows that the invention of literacy included also a new experience of thought that led to inventions of identity as well: individual selfhood and the democratic state. Thus there are three interrelated invention streams forming a matrix of possibilities for electracy, only one of which is technological. There is no technological determinism, other than the fundamental law of change: that everything is mutating together into something other, different, with major losses and gains.
    [Show full text]
  • View Bad Ideas About Writing
    BAD IDEAS ABOUT WRITING Edited by Cheryl E. Ball & Drew M. Loewe BAD IDEAS ABOUT WRITING OPEN ACCESS TEXTBOOKS Open Access Textbooks is a project created through West Virginia University with the goal of produc- ing cost-effective and high quality products that engage authors, faculty, and students. This project is supported by the Digital Publishing Institute and West Virginia University Libraries. For more free books or to inquire about publishing your own open-access book, visit our Open Access Textbooks website at http://textbooks.lib.wvu.edu. BAD IDEAS ABOUT WRITING Edited by Cheryl E. Ball and Drew M. Loewe West Virginia University Libraries Digital Publishing Institute Morgantown, WV The Digital Publishing Institute believes in making work as openly accessible as possible. Therefore, this work is licensed under a Creative Commons Attribution 4.0 International License. This license means you can re-use portions or all of this book in any way, as long as you cite the original in your re-use. You do not need to ask for permission to do so, although it is always kind to let the authors know of your re-use. To view a copy of this CC license, visit http://creative- commons.org/licenses/by/4.0/ or send a letter to Creative Commons, PO Box 1866, Mountain View, CA 94042, USA. This book was set in Helvetica Neue and Iowan Old Style and was first published in 2017 in the United States of America by WVU Libraries. The original cover image, “No Pressure Then,” is in the public domain, thanks to Pete, a Flickr Pro user.
    [Show full text]
  • A RHETORICAL APPROACH to CULTURAL LITERACIES ACROSS MEDIA Randy Nichols Clemson University, [email protected]
    Clemson University TigerPrints All Dissertations Dissertations 8-2011 A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA Randy Nichols Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Part of the Rhetoric and Composition Commons Recommended Citation Nichols, Randy, "A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA" (2011). All Dissertations. 759. https://tigerprints.clemson.edu/all_dissertations/759 This Dissertation is brought to you for free and open access by the Dissertations at TigerPrints. It has been accepted for inclusion in All Dissertations by an authorized administrator of TigerPrints. For more information, please contact [email protected]. A RHETORICAL APPROACH TO CULTURAL LITERACIES ACROSS MEDIA A Dissertation Presented to the Graduate School of Clemson University In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication and Information Design by Randy D. Nichols August 2011 Accepted by: Tharon Howard, Committee Chair Cynthia Haynes Constancio Nakuma Clifton S.M. Egan ABSTRACT A Rhetorical Approach to Cultural Literacies Across Media finds exigency in the challenges presented to students and teachers by the growing emphasis on globalization, and by the increasing demands for literacy in new media. My research develops a theoretical model for a rhetorical reading of cultural ―texts‖ in the context of cross-cultural learning experiences. This model is built on the metaphor of ―stolons,‖
    [Show full text]
  • Pitchfork Mental Health
    “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE _____________________________________________________________________________ A Thesis Presented to The Faculty of the Graduate School At the University of Missouri-Columbia ____________________________________ In Partial Fulfillment Of the Requirements for the Degree Master of Arts _____________________________________ By Jared McNett Dr Berkley Hudson, Thesis Supervisor December 2016 The undersigned, appointed by the dean of the Graduate School, have examined the thesis entitled “NAME ONE GENIUS THAT AIN’T CRAZY”- MISCONCEPTIONS OF MUSICIANS AND MENTAL HEALTH IN THE ONLINE STORIES OF PITCHFORK MAGAZINE presented by Jared McNett, A candidate for the degree of masters of art and hereby certify that, in their opinion, it is worthy of acceptance. Professor Berkley Hudson Professor Cristina Mislan Professor Jamie Arndt Professor Andrea Heiss Acknowledgments It wouldn’t be possible to say thank enough to each and every person that has helped me with this along my way. I’m thankful for my parents, Donald and Jane McNett, who consistently pestered me by asking “How’s it coming with your thesis? Are you done yet?” I’m thankful for friends, such as: Adam Suarez, Phillip Sitter, Brandon Roney, Robert Gayden and Zach Folken, who would periodically ask me “What’s your thesis about again?” That was a question that would unintentionally put me back on track. In terms of staying on task my thesis committee (mentioned elsewhere) was nothing short of a godsend. It hasn’t been an easy two-and-a-half years going from basic ideas to a proposal to a thesis, but Drs.
    [Show full text]
  • Imp Maquette Illiko 2003
    L’édito du Le Créa (Centre de Rencontre, d’Échange et d’Animation) est un espace culturel qui s’intéresse aux curiosités artistiques de notre monde. Un lieu qui conjugue la culture au quotidien et les événements. illiko est un rendez-vous culturel populaire qui s’ou- vre plus spécifiquement à une frange du 9e art. La bande dessinée, tout comme l’illustration, est une discipline artistique sans cesse renouvelée par l’émergence de nouveaux auteurs, par la diversité des thèmes trai- tés et la façon singulière de les aborder (récit autobiographique, historique, noir et blanc…). En marge dans les années 90, “la nouvelle bande dessinée” a trouvé pro- gressivement sa place dans la page et conquis de nouveaux lecteurs, résultat du choix politique et du travail assidu de certains éditeurs, comme L’Association et Ego comme X, Les Requins Marteaux… illiko tente à sa manière de rendre hommage et d’illustrer ce mouvement perpétuel, en présentant les acteurs et têtes cher- cheuses de la discipline, comme cette année Benoît Jacques et Blutch, dont les uni- vers parfois drôles, parfois grinçants, témoignent d’une créativité tous azimuts qui explore sans complexe de nouvelles approches stylistiques et graphiques. Illustration, peinture, collage, installation mais aussi musique, avec des auteurs comme Françoiz Breut ou Fabio Viscogliosi, qui sévissent à coup de crayons et de guitares électriques. Et puis tous les autres, Géraldine Kosiak, Philippe Poirier, Delphine Durand, Albert Lemant, Colonel Moutarde… illiko, c’est également un soutien à la jeune création régionale avec, pour exemple, une carte blanche à L’Institut Pacôme, jeune maison d’édition strasbourgeoise.
    [Show full text]
  • Ink 19 :: Daniel Johnston Page 1 of 6
    Ink 19 :: Daniel Johnston Page 1 of 6 Daniel Johnston by Stein Haukland courtesy www.gammonrecords.com His legend tends to overshadow his genius, but with his new album Fear Yourself , Daniel Johnston is out to prove his real value. Hailed by everyone from Sonic Youth and Kurt Cobain to Sparklehorse as one of our times' most important songwriters and performers, Johnston has created a musical universe quite unlike anything else out there today. The general media may want to focus on the years spent in mental hospital and on how he distributed his early tapes -- mostly songs about Casper the Friendly Ghost, super heroes and popular stars of the day -- by giving them away to pretty girls on the streets. But as his work over the years so convincingly attests, Johnston is much more than some original character. Daniel Johnston writes songs of classic beauty with melodies that twist and turn and take you places you've never been before. His performances are emotionally naked and almost shockingly honest. Some early albums have been marred by an absurdly lo-fi production, or by studio musicians unable to provide the necessary sound for his songs. But on Fear Yourself , Johnston has gotten together with Sparklehorse's Mark Linkous -- another eccentric whose reputation too often overshadows his unique ambition and sheer talent -- to create one of the finest albums you've never heard. Talking on the phone from his home in Texas, Johnston proved to be every inch as honest and unpretentious as his music suggests he'd be. I just got your album, and I'm really impressed by it.
    [Show full text]