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Screen/Writing: Time & Cinematics In An Age Of Rhetorical Memory, Joshua Hilst
Screen/Writing: Time & Cinematics In An Age Of Rhetorical Memory, Joshua Hilst
All Dissertations
This essay argues that part of memory is external to ourselves. This memory, which began with writing but has since grown to encompass digital media, the internet, and other forms of new media, faces a two-fold problem in the information age. The first is privatization, which is represented by copyright, and has heretofore received a greater share of scholarly attention. Regulation is represented through the concept of protocols, which are the rules digital media execute in order to perform functions. Protocols are a regulation of external memory, which I argue also represents a threat to deliberation, the form of rhetoric …
Making Rhetorical Scents: An Olfactory Grammar Of Motives Based On Kenneth Burke's Pentad, Janet Miller
Making Rhetorical Scents: An Olfactory Grammar Of Motives Based On Kenneth Burke's Pentad, Janet Miller
All Theses
Scent is inherently persuasive, but the language of scent is largely missing from rhetoric's vocabulary. This is because language cannot express the 'truth' of an odor. Identification of odor as substance is dependent on consubstantiality between the author and reader. We instead describe smells using metaphorical language, or by invoking episodic memories and emotional reactions. In this way, scent is dramatistic. In order to consider the possibility of a grammar of scent beyond metaphor, the author develops an olfactory pentad (Sniff, Context, Emanation, Odor Object, and Response) by applying the framework of Kenneth Burke's dramatistic pentad. In this way, scent …
Rhiz|Comics: The Structure, Sign, And Play Of Image And Text, Jason Helms
Rhiz|Comics: The Structure, Sign, And Play Of Image And Text, Jason Helms
All Dissertations
This dissertation combines Gregory Ulmer's post-criticism with multimodal composition resulting in a work that critiques the medium of comics in comics format. Six traditional text chapters forge a theoretical and practical foundation; punctuated within and without by occasional visual interludes and three comic sections. I advocate teaching multimodal composition through comics' interplay of image and text.