With more than 800 million active users (more than half of whom logon every day), it is no wonder so many people have written about Facebook. Some have looked at how political candidates use Facebook, other, rhetorically-minded scholars have seen it as a pedagogical aid. Oddly, however, Facebook has not received an adequate analysis as a unique, multimodal, rhetorical space. This is due, in large part, to a lack of analytical tools for such a diverse medium.
Iâ€™m desperate for tools and strategies to help me get my job done and still live a life. Like many other writing instructors over the past twenty years have done, Iâ€™ve tried out scores of promising technology solutions that looked like they might help me do my job more effectively or efficiently, whether that means helping students to apply concepts theyâ€™re learning, or freeing up time for me to apply to course planning, attending meetings, and grading stacks of papers.
As blogs become permanent additions to many news organizationsâ€™ websites, professionals and readers are beginning to evaluate the value blogs have to news. Publications such as The New York Times maintain such a vast collection of blogs that many include a directory online to navigate through them; writers cover various subjects, including news and politics, […]
Since the end of World War II, visual rhetoric based writings in the first year composition classroom have become more prevalent.Â 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 Kids Are All Right is the story of lesbian couple Nic and Jules Allgood, both in their 40â€™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 (â€œdonor dadâ€), and Mia Wasikowska and Josh Hutcherson as Joni and Laser â€“ explores the multifarious ways that the family is disrupted by Laserâ€™s desire to bring his â€œdonor dad,â€ Paul, into the otherwise female context he inhabits.
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 â€œmobilize symbols to influence diverse publicsâ€ (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 identityâ€”especially in terms of pop-cultureâ€”that far surpasses the show itself.
This paper will focus on various aspects of the San Pasqual Battlefield, located in Escondido, California. The notion of public memory, which emerges from the intersection of official and vernacular cultural expressions, will be explored through the history the San Pasqual Battlefield portrays (Bodnar 13). At a California State Park, such as the San Pasqual Battlefield, it is fair to say that visitors expect an unbiased assessment of the battle between the Californios and the Americans.