The theatre is the obvious place…for [Bakhtin] to have made a stronger contribution, or at least a logical place to go to further discriminate his own set of categories, and he didn’t do it…It is a mystery. I don’t understand it…This is a topic that needs a lot of work; I hesitate to even talk about […]
Spring 2011 issue of LORE Journal presented by the Rhetoric and Writing Department of San Diego State University
Reading Culture by Diana George and John Trimbur is not a how-to text on writing but rather a how-to text on thinking critically of American culture. As a visually stimulating reader reflecting everyday encounters through articles and illustrations, Reading Culture succeeds in capturing its audience’s attention. George and Trimbur’s idea is “to treat contemporary American culture as a vast research […]
Since the end of World War II, visual rhetoric based writings in the first year composition classroom have become more prevalent. Visual rhetoric has already enjoyed a high level of success because not only are there many media and technological resources available for discourse, but the design of writing prompts has given students the latitude […]
The fifty-four-year old artist walked the streets of Fort Bragg, an old Northern Californian lumber town. He saw two places: the slowly gentrifying tourist hamlet it is now, and the decaying backwater it had been during his youth. He remembered days when this central street was lined with seedy bars and mill workers. Paychecks dispensed at the nearby docks rarely made it home.
The Kids Are All Right is the story of lesbian couple Nic and Jules Allgood, both in their 40’s, and their children, Joni (18) and Laser (15), conceived via artificial insemination with sperm from the same donor. The film — co-scripted by Lisa Cholodenko and Stuart Blomberg, directed by Cholodenko, and performed by Annette Bening and Julianne Moore as Nic and Jules, Mark Ruffalo as Paul (“donor dad”), and Mia Wasikowska and Josh Hutcherson as Joni and Laser – explores the multifarious ways that the family is disrupted by Laser’s desire to bring his “donor dad,” Paul, into the otherwise female context he inhabits.
Teachers of writing want students to think of themselves as writers. This simple shift in identification indicates a larger move from being a passive learner to being an active participant in the classroom and in the writing, thinking world. Teachers want students to feel a sense of agency as they write—the ability to consciously control language—and to feel a sense of agency through writing—to know that what they write matters and is nothing less than a platform for their voices to be heard. In this regard, there is a vast discrepancy between courses in creative writing and composition.
With the rise of the digital age and this time of one-hundred-plus TV channels, the ways in which TV shows compete for viewers is constantly evolving and heavily dependent on visual strategies of persuasion. Print and online advertisements, billboards, and TV commercials all attempt to engage audiences in ways that “mobilize symbols to influence diverse publics” (Olsen 9). One particularly interesting area in which visual rhetoric is used to attract and retain viewership is the opening credits of a television show; sometimes these credits have a residual identity—especially in terms of pop-culture—that far surpasses the show itself.