Pub Date : 2023-10-13DOI: 10.1080/02773945.2023.2251454
Noah Roderick
This article looks at how exigence is made publicly observable in user-based media operating on recommendation algorithms. Messaging in these rhetorical environments often takes the form of imitative behaviors rather than statements inviting a direct response. Examined in the article are two audio memes from TikTok representing two modes of imitation: one a physical imitation meme associated with the Woman, Life, Freedom protests in Iran, and the other a narrative imitation meme where participants objectify endemic social problems. The findings suggest that the responsorial imperative of audio memes can either intensify the speed and urgency with which an exigence is experienced, or it can bring urgency to endemic problems. The studies also find that the formal qualities of a given audio meme constrain both how an exigence is communicated as well as what kinds of exigences the meme can be taken up for in the first place.
{"title":"Exigence at the Dawn of Recommendation Media: Dramatizing Salience in Audio Memes","authors":"Noah Roderick","doi":"10.1080/02773945.2023.2251454","DOIUrl":"https://doi.org/10.1080/02773945.2023.2251454","url":null,"abstract":"This article looks at how exigence is made publicly observable in user-based media operating on recommendation algorithms. Messaging in these rhetorical environments often takes the form of imitative behaviors rather than statements inviting a direct response. Examined in the article are two audio memes from TikTok representing two modes of imitation: one a physical imitation meme associated with the Woman, Life, Freedom protests in Iran, and the other a narrative imitation meme where participants objectify endemic social problems. The findings suggest that the responsorial imperative of audio memes can either intensify the speed and urgency with which an exigence is experienced, or it can bring urgency to endemic problems. The studies also find that the formal qualities of a given audio meme constrain both how an exigence is communicated as well as what kinds of exigences the meme can be taken up for in the first place.","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855352","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-13DOI: 10.1080/02773945.2023.2251462
Mats Landqvist
This essay examines how the Swedish disability movement creates policies involving naming practices as a means for self-presentation. The study takes its departure from two kinds of empirical data: websites of specific disability organizations and an interview with representatives of a national disability organization. Different angles of problems associated with terms for self-description are discussed mainly from a rhetorical-agency perspective. Through the analysis of data, I show how different political goals are connected to naming practices, resulting in ambivalence toward ongoing linguistic innovation processes, especially those with roots in norm criticism.
{"title":"Strategic Linguistic Choices within the Swedish Disability Movement: Practical Reasoning, Agency, and Antiableist Challenges","authors":"Mats Landqvist","doi":"10.1080/02773945.2023.2251462","DOIUrl":"https://doi.org/10.1080/02773945.2023.2251462","url":null,"abstract":"This essay examines how the Swedish disability movement creates policies involving naming practices as a means for self-presentation. The study takes its departure from two kinds of empirical data: websites of specific disability organizations and an interview with representatives of a national disability organization. Different angles of problems associated with terms for self-description are discussed mainly from a rhetorical-agency perspective. Through the analysis of data, I show how different political goals are connected to naming practices, resulting in ambivalence toward ongoing linguistic innovation processes, especially those with roots in norm criticism.","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135855332","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-11DOI: 10.1080/02773945.2023.2233501
Nathan Tillman
ABSTRACTThis article explores rhetorics connected to the 1918 graduation of Korea’s first women’s college. The study examines textual and visual archives from the early 1900s to 1965, drawing on scholarship in colonial studies, Korean studies, history, and rhetoric. I argue that Japanese, Koreans, and US missionaries competed at this college’s 1918 commencement to define and take credit for the school’s work. I show how weather constrained Koreans and missionary leaders as they leveraged visual rhetorics for divergent objectives. I analyze how the Korean valedictorian employed the English language and US cultural references to compose anticolonial mimetic rhetorics. Finally, I examine how Japanese and US spatial rhetorics worked to displace Koreans and erase their history. This study suggests how traditional textual sources might be complicated by considering mundane meteorological, sartorial, linguistic, and spatial details. The article also seeks to demonstrate the importance of broadening our field’s languages and regions of study.KEYWORDS: Colonialismcommencement rhetoricsmimesisspatial rhetoricsvisual rhetorics AcknowledgementsI thank the reviewers for encouraging and challenging suggestions that advanced and clarified my arguments. My thanks to the RSQ editor and staff for their patient support. I am deeply grateful to experts in archives, libraries, and museums in Korea and the US who generously located and helped me secure permission to use textual and visual primary sources—this project would have been impossible without them: to 손현지 Son Hyunji at the Ewha Archives and 서은진 Seo Eunjin at the Ewha Museum for years of invaluable assistance; to Candace Reilly, Manager of Special Collections at the Drew University Library; to Alex Parrish at Drew University’s United Methodist Archives and History Center; to Frances Lyons at the United Methodist Church’s General Commission on Archives and History; and to the staff at Research Information Services at the National Library of Korea.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 “梨花 學堂 卒業式 [이화학당 졸업식] (Ewha Academy graduation).” Here and throughout, I have modernized the obsolete vowel • to its modern equivalents (toㅏ when it appears alone and to ㅔ or ㅐ when it appears as part of another vowel).2 This and all translations are mine, except for the titles of Korean-language works in the bibliography.3 For example, see Finnegan “Doing Rhetorical History” and “Studying Visual Modes”; Gries, Still Life; Hariman and Lucaites.4 Campt; Coronado.5 See especially Hyaeweol Choi, “Visual” and Heejeong Sohn; also, Clark, Missionary Photography.6 See 김윤 Kim Yun; Chung; Hyaeweol Choi, New Women and Gender; Yoo.7 Quoted in Bordelon 511.8 Kim Hwallan, Grace 44.9 임영신 Im Yeongsin/Louise Yim 116; McKenzie 292–93.10 In 1952, for instance, Frantz Fanon famously observed the rhetorical power of seeing Martinicians return from France wearing European-style clothing and speaking
{"title":"“Our Hidden Revenge”: Anti/Colonial Rhetorics at a Korean Women’s College Graduation, 1918","authors":"Nathan Tillman","doi":"10.1080/02773945.2023.2233501","DOIUrl":"https://doi.org/10.1080/02773945.2023.2233501","url":null,"abstract":"ABSTRACTThis article explores rhetorics connected to the 1918 graduation of Korea’s first women’s college. The study examines textual and visual archives from the early 1900s to 1965, drawing on scholarship in colonial studies, Korean studies, history, and rhetoric. I argue that Japanese, Koreans, and US missionaries competed at this college’s 1918 commencement to define and take credit for the school’s work. I show how weather constrained Koreans and missionary leaders as they leveraged visual rhetorics for divergent objectives. I analyze how the Korean valedictorian employed the English language and US cultural references to compose anticolonial mimetic rhetorics. Finally, I examine how Japanese and US spatial rhetorics worked to displace Koreans and erase their history. This study suggests how traditional textual sources might be complicated by considering mundane meteorological, sartorial, linguistic, and spatial details. The article also seeks to demonstrate the importance of broadening our field’s languages and regions of study.KEYWORDS: Colonialismcommencement rhetoricsmimesisspatial rhetoricsvisual rhetorics AcknowledgementsI thank the reviewers for encouraging and challenging suggestions that advanced and clarified my arguments. My thanks to the RSQ editor and staff for their patient support. I am deeply grateful to experts in archives, libraries, and museums in Korea and the US who generously located and helped me secure permission to use textual and visual primary sources—this project would have been impossible without them: to 손현지 Son Hyunji at the Ewha Archives and 서은진 Seo Eunjin at the Ewha Museum for years of invaluable assistance; to Candace Reilly, Manager of Special Collections at the Drew University Library; to Alex Parrish at Drew University’s United Methodist Archives and History Center; to Frances Lyons at the United Methodist Church’s General Commission on Archives and History; and to the staff at Research Information Services at the National Library of Korea.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 “梨花 學堂 卒業式 [이화학당 졸업식] (Ewha Academy graduation).” Here and throughout, I have modernized the obsolete vowel • to its modern equivalents (toㅏ when it appears alone and to ㅔ or ㅐ when it appears as part of another vowel).2 This and all translations are mine, except for the titles of Korean-language works in the bibliography.3 For example, see Finnegan “Doing Rhetorical History” and “Studying Visual Modes”; Gries, Still Life; Hariman and Lucaites.4 Campt; Coronado.5 See especially Hyaeweol Choi, “Visual” and Heejeong Sohn; also, Clark, Missionary Photography.6 See 김윤 Kim Yun; Chung; Hyaeweol Choi, New Women and Gender; Yoo.7 Quoted in Bordelon 511.8 Kim Hwallan, Grace 44.9 임영신 Im Yeongsin/Louise Yim 116; McKenzie 292–93.10 In 1952, for instance, Frantz Fanon famously observed the rhetorical power of seeing Martinicians return from France wearing European-style clothing and speaking ","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136211507","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
ABSTRACTInspired by challenges we faced in an undergraduate community-literacy cohort, we theorize “epideictic listening” as an important concept for articulating the range of listening strategies necessary both for our work in local public schools and for sustaining the cohort’s internal cohesion. Through critical reflection, we (faculty and student coauthors) offer a definition of “epideictic listening” that draws from, but also distinguishes itself from, other theoretical frameworks, such as rhetorical listening and community listening. We situate epideictic listening within the larger rhetorical tradition of epideixis. We end with a concrete application for epideictic listening—the debrief—and gesture toward the larger significance for epideictic listening in community settings.KEYWORDS: Debriefepideictic listeningepideixisethosrhetorical listening Disclosure StatementNo potential conflict of interest was reported by the author(s).
{"title":"Epideictic Listening: From a Reflective Case Study to a Theory of Community Ethos","authors":"Sarah Hart Micke, Angela Sowa, Lisl Davies, Emily Graboski, Maya Piñón","doi":"10.1080/02773945.2023.2246949","DOIUrl":"https://doi.org/10.1080/02773945.2023.2246949","url":null,"abstract":"ABSTRACTInspired by challenges we faced in an undergraduate community-literacy cohort, we theorize “epideictic listening” as an important concept for articulating the range of listening strategies necessary both for our work in local public schools and for sustaining the cohort’s internal cohesion. Through critical reflection, we (faculty and student coauthors) offer a definition of “epideictic listening” that draws from, but also distinguishes itself from, other theoretical frameworks, such as rhetorical listening and community listening. We situate epideictic listening within the larger rhetorical tradition of epideixis. We end with a concrete application for epideictic listening—the debrief—and gesture toward the larger significance for epideictic listening in community settings.KEYWORDS: Debriefepideictic listeningepideixisethosrhetorical listening Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"116 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-09","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135093908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-06DOI: 10.1080/02773945.2023.2232815
Kelly Williams Nagel
ABSTRACTIn the wake of George Floyd’s murder by Minneapolis police in May 2020, cities across the United States erupted in protest. These public displays reignited debates over the presence of Confederate monuments, such as the Robert E. Lee statue in Richmond, Virginia. This essay examines several protest events at the Lee statue memorial space in summer 2020, arguing that these moments are a sustained form of a space for encounter. Protestors reclaimed the Lee statue through art and renaming the space, celebrating Black heritage and excellence, and creating educational, accessible, and safe spaces to encourage conversations about racial justice across social differences. The Lee memorial space, renamed Marcus-David Peters Circle by protestors, shows how spaces for encounter can navigate moments of contingency and eligibility for antiracist activism, and how other toxic memory sites can be remade into generative spaces that offer alternative visions of the future.KEYWORDS: Lost Causeprotest rhetoricspublic memoryspace/place AcknowledgmentsThe author expresses her sincerest thanks to Jacqueline Rhodes, Cheryl Glenn, Michele Kennerly, Jeff Nagel, and the anonymous reviewers for their help at every step of the process.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Spanish translation: “together we are powerful!”
{"title":"Transforming Confederate Memory Sites into Spaces for Encounter: Reclaiming Space at Marcus-David Peters Circle","authors":"Kelly Williams Nagel","doi":"10.1080/02773945.2023.2232815","DOIUrl":"https://doi.org/10.1080/02773945.2023.2232815","url":null,"abstract":"ABSTRACTIn the wake of George Floyd’s murder by Minneapolis police in May 2020, cities across the United States erupted in protest. These public displays reignited debates over the presence of Confederate monuments, such as the Robert E. Lee statue in Richmond, Virginia. This essay examines several protest events at the Lee statue memorial space in summer 2020, arguing that these moments are a sustained form of a space for encounter. Protestors reclaimed the Lee statue through art and renaming the space, celebrating Black heritage and excellence, and creating educational, accessible, and safe spaces to encourage conversations about racial justice across social differences. The Lee memorial space, renamed Marcus-David Peters Circle by protestors, shows how spaces for encounter can navigate moments of contingency and eligibility for antiracist activism, and how other toxic memory sites can be remade into generative spaces that offer alternative visions of the future.KEYWORDS: Lost Causeprotest rhetoricspublic memoryspace/place AcknowledgmentsThe author expresses her sincerest thanks to Jacqueline Rhodes, Cheryl Glenn, Michele Kennerly, Jeff Nagel, and the anonymous reviewers for their help at every step of the process.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Spanish translation: “together we are powerful!”","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134944277","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/02773945.2023.2232774
Bill Heinze, Atilla Hallsby
ABSTRACTThis essay examines the lives of two pianists with significant impairments of their right arms: Paul Wittgenstein, a classical pianist who lost his right arm in World War I, and Horace Parlan, a jazz pianist who lost full use of his right hand due to childhood polio. Drawing on theories of mêtis and passing developed by queer theory and disability studies scholars, we theorize aural passing to examine how Parlan and Wittgenstein differently navigated the rhetorical constraints of their respective musical genres. Engaging a rhetorical biography of each performer’s unique mêtis, we compare how disabled forms of passing are not equivalent across all instances and conclude by meditating on the entrenched ableism of musical pedagogy and performance.KEYWORDS: Aural passingclassical musicdisabilityjazzmêtis AcknowledgmentsWe thank Michael Lechuga, Emma McDonnell, Mark Pedelty, Kate Rich, and Aubrey Weber who all provided feedback on earlier drafts of this essay.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Normate is a term developed by Rosemarie Garland-Thompson to mean “the constructed identity of those who, by way of the bodily configurations and cultural capital they assume, can step into a position of authority and wield the power it grants them” (8). Throughout this essay, we draw on this term to reference the link between the social construction of normative ablism and embodied standards of self-expression (Dolmage, “Back Matter” 351–52).2 Deleuze and Guattari admit that “becoming-imperceptible means many things” and, in a close parallel to the animal (fox, octopus) metaphors for cunning intelligence invoked by the term mêtis, reference “the camouflage fish” to describe the act of blending in through an overlay of patterns. They also describe “becoming-imperceptible” as “to be like everybody else,” “to go unnoticed,” and as having a “essential relation” to “movement,” which is often “below and above the threshold of perception” (279–81).3 One colleague and pianist of mine responded with the singular word “VERBOTEN!” when asked if he had ever heard of the piece played by a performer using two hands.
摘要本文考察了两位右臂严重受损的钢琴家的生活:保罗·维特根斯坦是一位在第一次世界大战中失去右臂的古典钢琴家，霍勒斯·帕兰是一位因儿童小儿麻痹症而失去右手的爵士钢琴家。利用酷儿理论和残疾研究学者发展的mêtis和传递理论，我们将听觉传递理论化，以研究帕兰和维特根斯坦如何以不同的方式驾驭各自音乐流派的修辞限制。通过对每位表演者独特的mêtis的修辞传记，我们比较了残疾形式的传球在所有情况下是如何不同的，并通过思考音乐教学和表演中根深蒂固的残疾主义来结束。我们感谢Michael Lechuga, Emma McDonnell, Mark Pedelty, Kate Rich和Aubrey Weber，他们都对本文的早期草稿提供了反馈。披露声明作者未报告潜在的利益冲突。注1规范是罗斯玛丽·加兰-汤普森提出的一个术语，意思是“那些通过他们所拥有的身体结构和文化资本，能够进入权威地位并行使权力的人的建构身份”(8)。在本文中，我们利用这个术语来指代规范能力主义的社会建构与自我表达的体现标准之间的联系(Dolmage，“Back Matter”351-52)德勒兹和瓜塔里承认，“变得难以察觉意味着很多事情”，并且，与mêtis这个术语所引用的动物(狐狸、章鱼)对狡猾智慧的隐喻非常相似，他们引用了“伪装鱼”来描述通过覆盖的图案融合在一起的行为。他们还将“变得不可察觉”描述为“像其他人一样”，“不被注意”，以及与“运动”有“本质关系”，而“运动”通常“低于或高于感知阈值”(279-81)我的一位同事兼钢琴家只回答了一个词:“禁止!”当被问及他是否听说过演奏者用两只手演奏的曲子时。
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Pub Date : 2023-10-02DOI: 10.1080/02773945.2023.2236998
Casey Boyle
ABSTRACTThis short essay explores oblique approaches to rhetorical theory and practice and, in doing so, accidently arrives at a renewed appreciation of Aesthetics.KEYWORDS: Aestheticsobliquesense AcknowledgmentsI thank Crystal Colombini for reading versions of this essay and offering editorial guidance that made the essay much better. I also thank the anonymous reviewer whose questions and suggestions undoubtedly strengthened the work.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 One such encounter with the oblique can be found in Debra Hawhee’s A Sense of Urgency (177n13).2 Thanks to Eunsong Kim for pointing me toward Glissant’s discussion of the opaque.
{"title":"The Unbearable Obliqueness of Rhetoric","authors":"Casey Boyle","doi":"10.1080/02773945.2023.2236998","DOIUrl":"https://doi.org/10.1080/02773945.2023.2236998","url":null,"abstract":"ABSTRACTThis short essay explores oblique approaches to rhetorical theory and practice and, in doing so, accidently arrives at a renewed appreciation of Aesthetics.KEYWORDS: Aestheticsobliquesense AcknowledgmentsI thank Crystal Colombini for reading versions of this essay and offering editorial guidance that made the essay much better. I also thank the anonymous reviewer whose questions and suggestions undoubtedly strengthened the work.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 One such encounter with the oblique can be found in Debra Hawhee’s A Sense of Urgency (177n13).2 Thanks to Eunsong Kim for pointing me toward Glissant’s discussion of the opaque.","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135828786","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-10-02DOI: 10.1080/02773945.2023.2232761
Adam Gaffey
ABSTRACTThis essay analyzes a display of Wenonah and the “Lover’s Leap” in Winona, Minnesota, as an example of dissociative memory(-)work. Applying dissociation to the organization of commemorative space, I attend to how the display uses markers of commemorative labor as modifying terms that invite audiences to dissociate investiture from the figure represented in order to privilege the people, actions, and temporal frameworks of those who made and maintained the memorial. This analysis proposes different dissociative units relevant to memory(-)work, including persona memorialized/persona memorializing, act memorialized/act of memorializing, and time memorialized/time of memorializing. Attention to this example of memory(-)work helps critics account for a unique and resilient form of rhetorical colonialism.KEYWORDS: Dissociationlover’s leapmemory(-)workrhetorical colonialismWenonah AcknowledgmentsThe author thanks the two anonymous reviewers, Jacqueline Rhodes, and Anna M. M. Gaffey for their insights toward improving this essay. This work also benefited from assistance and resources provided by the Winona County Historical Society and Winona State University Krueger Library.Disclosure StatementNo potential conflict of interest was reported by the author(s).
{"title":"Making the Lover’s Leap: Wenonah, Rhetorical Colonialism, and Dissociative Memory(-)Work","authors":"Adam Gaffey","doi":"10.1080/02773945.2023.2232761","DOIUrl":"https://doi.org/10.1080/02773945.2023.2232761","url":null,"abstract":"ABSTRACTThis essay analyzes a display of Wenonah and the “Lover’s Leap” in Winona, Minnesota, as an example of dissociative memory(-)work. Applying dissociation to the organization of commemorative space, I attend to how the display uses markers of commemorative labor as modifying terms that invite audiences to dissociate investiture from the figure represented in order to privilege the people, actions, and temporal frameworks of those who made and maintained the memorial. This analysis proposes different dissociative units relevant to memory(-)work, including persona memorialized/persona memorializing, act memorialized/act of memorializing, and time memorialized/time of memorializing. Attention to this example of memory(-)work helps critics account for a unique and resilient form of rhetorical colonialism.KEYWORDS: Dissociationlover’s leapmemory(-)workrhetorical colonialismWenonah AcknowledgmentsThe author thanks the two anonymous reviewers, Jacqueline Rhodes, and Anna M. M. Gaffey for their insights toward improving this essay. This work also benefited from assistance and resources provided by the Winona County Historical Society and Winona State University Krueger Library.Disclosure StatementNo potential conflict of interest was reported by the author(s).","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135829344","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-18DOI: 10.1080/02773945.2023.2232771
Kassia Shaw
ABSTRACTThe former Badger Army Ammunition Plant in rural southern Wisconsin has long been a landscape mired in settler colonial and industrial attempts to sever social and cultural relations between land and bodies. After the plant was decommissioned, the community decided it should be ecologically restored given the landscape’s legacy of harm. Through inter views with 17 local stakeholders and storytellers, this essay reveals how toxic containment as both metaphor and topoi, grounded in the materiality of toxins, brings visibility to the landscape’s history while at the same time providing a model of local resistance. For those in the Badger landscape, metaphor and topoi lead to personal and social actions that support culturally conscious relationship building with a direct impact on the scientific restoration process. Ultimately, this essay argues that how stories shape spatial experiences matters, especially given the way communities are guided by the metaphor-turned-topoi process.KEYWORDS: Environmental rhetoricmetaphorspatial rhetorictopoitoxic AcknowledgmentsI thank Caroline Gottschalk Druschke, Morris Young, and two anonymous reviewers for their invaluable feedback in developing this project.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Locals widely refer to the plant’s footprint as “Badger”; however, there is a developing effort to call it by its Ho-Chunk name, Mąą Wakącąk (Maa-wa-kun-chunk), which means “Sacred Earth.”2 “Re-story-ation” is a term theorized by ethnobotanist Gary Nabhan (p. 4) and Potawatomi and environmental biologist Robin Wall Kimmerer (p. 9) to represent the need for ecological restoration to better account for the relationships between landscapes and people. Stories play a central role in bridging scientific and cultural perspectives.3 The committee was biased in favor of US governmental officials while the remaining seats were distributed between cultural and advocacy groups. Although I hoped to include more Ho-Chunk participants than the original committee (one seat), I was only able to interview two storytellers given limitations related to funding, time, and COVID-19.4 Industrial solvents from a deterrent burning ground plume of toxins discharge to Weigand’s Bay, which connects to Lake Wisconsin and the Wisconsin River.5 Documented health complaints by workers at the plant included headaches and chest pains due to nitroglycerin exposure, as well as cancer deaths (Citizens for Safe Water; Gould).6 Community Conservation Coalition for the Sauk Prairie.Additional informationFundingThis work was supported by the Chancellor of the University of Wisconsin–Madison, as well as the Department of English, The Robert F. and Jean E. Holtz Center, and the Center for Culture, History, and Environment, all of the University of Wisconsin–Madison.
{"title":"Toxic Contamination and Land-Body Relations: Storytelling, Metaphor, and Topoi at the Former Badger Army Ammunition Plant","authors":"Kassia Shaw","doi":"10.1080/02773945.2023.2232771","DOIUrl":"https://doi.org/10.1080/02773945.2023.2232771","url":null,"abstract":"ABSTRACTThe former Badger Army Ammunition Plant in rural southern Wisconsin has long been a landscape mired in settler colonial and industrial attempts to sever social and cultural relations between land and bodies. After the plant was decommissioned, the community decided it should be ecologically restored given the landscape’s legacy of harm. Through inter views with 17 local stakeholders and storytellers, this essay reveals how toxic containment as both metaphor and topoi, grounded in the materiality of toxins, brings visibility to the landscape’s history while at the same time providing a model of local resistance. For those in the Badger landscape, metaphor and topoi lead to personal and social actions that support culturally conscious relationship building with a direct impact on the scientific restoration process. Ultimately, this essay argues that how stories shape spatial experiences matters, especially given the way communities are guided by the metaphor-turned-topoi process.KEYWORDS: Environmental rhetoricmetaphorspatial rhetorictopoitoxic AcknowledgmentsI thank Caroline Gottschalk Druschke, Morris Young, and two anonymous reviewers for their invaluable feedback in developing this project.Disclosure StatementNo potential conflict of interest was reported by the author(s).Notes1 Locals widely refer to the plant’s footprint as “Badger”; however, there is a developing effort to call it by its Ho-Chunk name, Mąą Wakącąk (Maa-wa-kun-chunk), which means “Sacred Earth.”2 “Re-story-ation” is a term theorized by ethnobotanist Gary Nabhan (p. 4) and Potawatomi and environmental biologist Robin Wall Kimmerer (p. 9) to represent the need for ecological restoration to better account for the relationships between landscapes and people. Stories play a central role in bridging scientific and cultural perspectives.3 The committee was biased in favor of US governmental officials while the remaining seats were distributed between cultural and advocacy groups. Although I hoped to include more Ho-Chunk participants than the original committee (one seat), I was only able to interview two storytellers given limitations related to funding, time, and COVID-19.4 Industrial solvents from a deterrent burning ground plume of toxins discharge to Weigand’s Bay, which connects to Lake Wisconsin and the Wisconsin River.5 Documented health complaints by workers at the plant included headaches and chest pains due to nitroglycerin exposure, as well as cancer deaths (Citizens for Safe Water; Gould).6 Community Conservation Coalition for the Sauk Prairie.Additional informationFundingThis work was supported by the Chancellor of the University of Wisconsin–Madison, as well as the Department of English, The Robert F. and Jean E. Holtz Center, and the Center for Culture, History, and Environment, all of the University of Wisconsin–Madison.","PeriodicalId":45453,"journal":{"name":"Rhetoric Society Quarterly","volume":"2010 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135149618","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-28DOI: 10.1080/02773945.2023.2232778
Nitzan Familia
ABSTRACT This article performs a psycho-rhetorical reading of the generalized theorization and specific application of simile in classical and early modern rhetorical treatises and in Shakespeare’s similaically entitled play, As You Like It (1600), respectively. Shakespeare’s play articulates multiple forms of gender and sexuality that are situated beyond the phallic norm inscribed into the privileged category of metaphor and trope; that is, cisgender heterosexuality. These forms include nonprocreative pleasure, lesbianism, homosexuality, incest, adultery, polyamory, pansexuality, drag and masquerade, and nonbinary gender, all of which are associated with the figure of simile. The similaically erotic, polymorphic language of Shakespeare’s illustrative comedy transgresses the Law of the phallus, and fabricates alternative gradations of gender, sexuality, love, li(n)king, and desire. Consequently, repressive and reductive operations of ancient and early modern rhetorical guides constitutively fail in Shakespeare’s play, and reaffirm the nonnormative forms of gender and sexuality that they aspire to censure and censor.
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