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(Visual) Rhetorics: a (Strange) Comic(S) View of Writing in the Age of New Media Sergio Figueiredo Clemson University, [email protected]

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(Visual) Rhetorics: a (Strange) Comic(S) View of Writing in the Age of New Media Sergio Figueiredo Clemson University, Sergiof@Clemson.Edu Clemson University TigerPrints All Dissertations Dissertations 5-2011 Un/Composing (Visual) Rhetorics: A (Strange) Comic(s) View of Writing in the Age of New Media Sergio Figueiredo Clemson University, [email protected] Follow this and additional works at: https://tigerprints.clemson.edu/all_dissertations Part of the Philosophy Commons Recommended Citation Figueiredo, Sergio, "Un/Composing (Visual) Rhetorics: A (Strange) Comic(s) View of Writing in the Age of New Media" (2011). All Dissertations. 705. https://tigerprints.clemson.edu/all_dissertations/705 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]. U n /C o m p o s i n g (V i s U a l ) R h e t o R i C s : a (s t R a n g e ) C o m i C ( s ) V i e w o f w R i t i n g i n t h e a g e o f n e w m e d i a A Dissertation Presented to the Graduate School of Clemson University Submitted In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy Rhetorics, Communication & Information Design by Sergio Correia Figueiredo May 2011 Dr. Cynthia Haynes, Dissertation Chair Dr. Victor J. Vitanza Dr. Christina Hung Dr. Andrea Feeser AbstrAct This dissertation finds its exigency in “The 9/11 Commission Report,” and specifically its claim that “a failure of imagination” that dismisses possibilities relates to the work currently in focus within rhetoric and composition studies as it relates to writing (with) new media. My argument relies on the underdeveloped concept of ‘imagination’ in composition as a way to argue for an alternate theoretical framework for addressing what writing (with) new media entails as a growing form of art. As such, I take up Geoff Sirc’s invitation to ‘remake’ his English Composition as a Happening with all of its references to avant-garde art as conceptualized in Allan Kaprow’s figure of theunartist and Dick Higgins calls for intermedia practices. Both of these concepts appear in the unart of comics – an ‘art’ for artists who have left their ‘homes’ in disciplinary iterations of art (unart) and for artists who are more concerned with working between media than they are within a specific medium intermedia( ). Comics, as I use the term, does not refer to a specific medium, but works as a form of thought in the Deleuzian sense: a sort of intuition exercised by imagination engaged in the continuous discovery of possibilities. Building on ‘post-pedagogical’ theories of invention—Italo Calvino, Byron Hawk, Cynthia Haynes, Gregory Ulmer—avant-garde writing and art practices (as it relates to new media)—Maurice Blanchot, Andre Breton, Friedrich Kittler, Jean- ii Francois Lyotard—and institutional rhetorics—Giorgio Agamben, Jacques Derrida, Bill Readings, Thomas Rickert—I propose a ‘strange’ manner of writing that foregoes the demands of argumentative writing in favor of a playful writing that attunes itself to imaginative possibilities of discovery. To write strangely connotes an unconventional approach to composition that would offer us the opportunities to think about ‘the coming composition’ as we invent new forms and ways of thinking according to methods invented for the occasion. In inventing new forms by thinking in terms of intermedia, we can realize the goal of Lyotard’s postmodern writer: to present (allusions to) the unpresentable. If we are to address the ‘failure of imagination’ in institutional practice and in ‘the scene of teaching,’ we need to be willing to be nomadic as both artists AND writers. Comics ‘artists,’ or those who I refere to as unartists, are adept at demonstrating ways in which this work can proceed, especially if we think of comics in terms of Haynes’ slash-technology that cuts through the divisions between media. In this dissertation, comics function as a form of thought that extends ‘multimodal composition’ and ‘art’ to their limits in order to suggest a strangely imaginative composition capable of attending to the disast(e)rous ‘failure of imagination.’ iii DeDicAtion The word dedication means to ‘give of oneself to some purpose.’ No one has taught me the meaning of giving of oneself with the utmost patience, kindness, and love as my father, Antonio da Conceiçáo Figueiredo. Without him, this work would not have been possible. Com saudades, dedico esta dissertação em sua memória. iv AcknowleDgements I would first like to thank my mother, Maria Aurora Correia Figueiredo, for her enduring support and love—she is my home, wherever either of us may go. Also, I would like to thank my brother, Daniel Correia Figueiredo, for being the sort of friend that brings me back to ‘reality’ whenever I get too involved in my own little world. A sincere and loving thank you to Kathleen Cassandra Cutler is also in order for putting up with my breakdowns, letting me vent, helping me work through ideas (usually indirectly and unintentionally), reminding me of the literature (novels/short stories) that has helped the following project come into being, and for her interminable love, even when she had every reason not to tolerate me and my (incoherent) ramblings. To Lydia Eve Ferguson, for showing me how to get back to myself, to my essence (but inessential) self; thank you for our time together—it was beautiful and, if we come back around in the times to come, hopefully we can salvage that beauty. And to all my RCID com/patriots, for making this PhD program the one that I had hoped for when taking this journey; thanks to Amanda Booher, Justin Hodgson, Josh Hilst, and Jason Helms for that first year of fun and conversation at Clemson. Finally, thank you to my dissertation advisor, Cynthia Haynes, for your undying support and exuberance concerning the work presented in this dissertation; Victor Vitanza, Andrea Feeser, and Christina Hung: the things I have learned in our conversations are, hopefully, reflected in what you are about to read and see in the following “pages”—this dissertation has been possible only due to your willingness to let me ruminate--probably longer than I should have had to-- within the imaginative space(s) of composition. v tAble of contents title page.........................................................................................................................i abstRaCt..........................................................................................................................ii dediCation......................................................................................................................iv aCknowledgments............................................................................................................V imagining the Coming Composition.................................................................................1 “A Failure of Imagination”...................................................................................9 Toward a (Post)Pedagogical Writing.................................................................14 Six Steps on the Way to Writing the Coming (Rhetorical) Composition.........19 theRe’s a stRangeR(s) in my Composition.....................................................................24 The Strange(rs) With/In Us......................................................................................29 The (Curiously) Strange Case of (New Media) Pedagogy.................................32 A Strange(r’s) Writing........................................................................................36 We Are the Strange(rs).......................................................................................42 in the shadow(s) of image/text....................................................................................50 Slashing Through Image/Text: The Definitional Project..................................56 A Hesitating In(ter)vention: The Cinematic (Arts) Project..............................65 Sifting Through the Madness: Writing Imaginatively......................................74 aRt inteRRUpted.............................................................................................................81 The Narrative Corpse: It’s Alive! It’s Alive!.......................................................85 vi Un/Arting Comics................................................................................................90 Post-Hermeneutics..............................................................................................97 Fragmentary Writing: Writing of the Figment(s)...........................................103 a tRilogy of Collages.................................................................................................109 Lyotard Friends Heidegger with Nietszche’s Umbrella..........................110-111 Thoughts on Building a Hacienda.............................................................112-113 Waving Bon Voyage to Rhetorics Past........................................................114-115 UnComposing (VisUal) RhetoRiCs.................................................................................116 Strange Figuration............................................................................................120 Un/Composing (in) the Digital Event...............................................................123 Comic(al) Interventions into the Digital..........................................................126 tRaitoRoUs hospitality: an aphoRistiC (Composition) pedagogy..............................130
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