English

How do you move student writing beyond summary and reflection and into real analyisis?

 

Rhetorical Visions uses rhetoric as the frame for investigating the verbal and visual texts of our culture. 

The reading and writing assignments offered in this book are designed to enable students to move from surface description into engaged analysis.

 

 

Thematic Readings: Chapters 3-7 invite students to exercise their analytical reading and writing skills while exploring themes about

Reworking the Family Album / Witnessing Nations / Shaping Mobile Identities / Made in the USA? / Representing History. (see TOC p. vi)

 

"Critical Frame"  is the introductory section for each thematic chapter.  (see p. 54-74)

• KEY RHETORICAL CONCEPTS are introduced within each of these Critical Frame sections.  (see p. 54)
• KEY RHETORICAL CONCEPTS AND WRITING spreads provide writing exercises as an opportunity for students to practice working with each identified concept. (see p. 60, 61, 64, 65, 70-73)

Readings section offers a range of texts that employ different expressions of a particular theme. (see p. 75)

• Strong critical thinking and writing prompts follow each selection and lead students to question, challenge, describe and analyze representational patterns in the text. (see p. 77,78)
• Prompts are organized into three parts 1) RE-READING: Conversations with text 2) RE-SEEING & RE-WRITING 3) INTERTEXT Comparisons
• Varied length, complexity and types of texts (essays, articles, ads, poetry, family photos, news photos, short fiction, and letters) provide flexibility & multiple points of view. (see p. 387-423)

 

Rhetorical Analysis: The first two chapters offer a comprehensive guide to engaging, analyzing, and creating texts. 

• Introductory chapters help students identify 1)Compositional elements of a text  2)Historical and cultural context of its production 3)Historical and cultural concept of its reception. (see p. 1-5)
• READING RHETORICALLY BOXES are introduced to help students use rhetoric as the primary tool to investigate texts. (see p. 7, 38, 39)
• Student Samples in these rhetorical chapters illustrate and reinforce ways of understanding and creating texts.  (See Chapter 2’s  student essay & map describing growing up in suburban Detroit and how it supports the key rhetorical concepts of identification and difference.) (see p. 41-55)

Research: Chapter 8 presents methods for working with primary and secondary sources. (see p. 571)

• This chapter offers step-by-step guidance in preparing an annotated bibliography, research prospectus, and research paper. (see p. 574)
• WRITE NOTE BOXES identify the different stages of the research process and offer best practices for moving through the process. (see p. 577)

___________________________________________________________________________________________________________________________________________________________________ 

Assignment Sequences:

Four assignment sequences appear at the end of Rhetorical Visions. Each sequence brings together selections and themes from two readings chapters, encouraging students to make connections across chapters while applying and testing out critical concepts and arguments through a series of assignments. (see p. 599)

 

Book Specific Website - Visual Rhetoric Activites for Rhetorical Visions:

This site extends the content and writing support of Rhetorical Visions by offering additional opportunities for students to investigate multimedia texts.  It is organized in modules that reflect the specific themes and key rhetorical concepts of the book. 

 

Instructor’s Manual for Rhetorical Visions:

The Instructor’s Manual provides an opportunity for teachers of composition to address the pedagogical questions that arise when integrating visual texts into first-year writing and writing-intensive courses.  It also  helps them design their courses in way that reflects an understanding of visual integration,  while positioning rhetoric at the center of the composition classroom. 

Thematic Readings: Chapters 3-7 invite students to exercise their analytical reading and writing skills while exploring themes about

Reworking the Family Album / Witnessing Nations / Shaping Mobile Identities / Made in the USA? / Representing History. 

 

"Critcal Frame"  is the introductory section for each thematic chapter. 

• KEY RHETORICAL CONCEPTS are introduced within each of these Critical Frame sections. 
• KEY RHETORICAL CONCEPTS AND WRITING spreads provide writing exercises as an opportunity for students to practice working with each identified concept

Readings section offers a range of texts that employ different expressions of a particular theme.

• Strong critical thinking and writing prompts follow each selection and lead students to question, challenge, describe and analyze representational patterns in the text.
• Prompts are organized into three parts 1) RE-READING: Conversations with text 2) RE-SEEING & RE-WRITING 3) INTERTEXT Comparisons
• Varied length, complexity and types of texts (essays, articles, ads, poetry, family photos, news photos, short fiction, and letters) provide flexibility & multiple points of view

 

Rhetorical Analysis: The first two chapters offer a comprehensive guide to engaging, analyzing, and creating texts. 

• Introductory chapters help students identify 1)Compositional elements of a text  2)Historical and cultural context of its production 3)Historical and cultural concept of its reception.
• READING RHETORICALLY BOXES are introduced to help students use rhetoric as the primary tool to investigate texts.
• Student Samples in these rhetorical chapters illustrate and reinforce ways of understanding and creating texts.  (See Chapter 2’s  student essay & map describing growing up in suburban Detroit and how it supports the key rhetorical concepts of identification and difference.) 

Research: Chapter 8 presents methods for working with primary and secondary sources.

• This chapter offers step-by-step guidance in preparing an annotated bibliography, research prospectus, and research paper
• WRITE NOTE BOXES identify the different stages of the research process and offer best practices for moving through the process.

___________________________________________________________________________________________________________________________________________________________________ 

Assignment Sequences:

Four assignment sequences appear at the end of Rhetorical Visions. Each sequence brings together selections and themes from two readings chapters, encouraging students to make connections across chapters while applying and testing out critical concepts and arguments through a series of assignments.

 

Book Specific Website - Visual Rhetoric Activites for Rhetorical Visions:

This site extends the content and writing support of Rhetorical Visions by offering additional opportunities for students to investigate multimedia texts.  It is organized in modules that reflect the specific themes and key rhetorical concepts of the book. 

 

Instructor’s Manual for Rhetorical Visions:

The Instructor’s Manual provides an opportunity for teachers of composition to address the pedagogical questions that arise when integrating visual texts into first-year writing and writing-intensive courses.  It also  helps them design their courses in way that reflects an understanding of visual integration,  while positioning rhetoric at the center of the composition classroom. 

Table of Contents

Preface: About This Book

CHAPTER I

INTRODUCTION: RHETORICAL VISIONS

Rhetoric: All the Available Means of Persuasion

Understanding Rhetorical Context

Rhetor

Audience

Text

Rhetorical Analysis: A Summation

The Political Power of Rhetoric

The Rhetorical Gaze

Identification and Difference

CHAPTER II

READING AND WRITING RHETORICALLY

Analysis and Genesis: Twin Rhetorical Acts

Form and Content: The “How” and “What” of Rhetorical Analysis

KRC’s: Tools of Rhetorical Analysis

Writing Rhetorical Texts

Invention

Arrangement

Style

Memory

Delivery

Explication and Analysis

Sample Student Text

READINGS

CHAPTER III

FAMILIAL GAZES: REWORKING THE FAMILY ALBUM

Key Rhetorical Concepts: memory, description, interpretation, narrative

Critical Frame

Archives and Familial Gazes

Reading Family Photographs: Moving from Description to Interpretation

What is Seen

What is Not Seen

Reading Contexts

Linking Family Stories

Popular Images of the American Family

Memory and Interpretation

Readings

Maxine Hong Kingston, “Photograph of My Parents” Memoir

bell hooks, “In Our Glory: Photography and Black Life” Essay

Mark Jeffreys, “The Visible Cripple (Scars and Other Disfiguring

Displays Included)” Essay/Memoir

Annette Kuhn, “Remembrance” Essay/Memoir

Connie May Fowler, “No Snapshots in the Attic: A Grandmother’s

Search for a Cherokee Past” Memoir

Dorothy and Thomas Hoobler, “La Familia” Interview/Memoir

Tomas Rivera, “The Portrait” Short Story

Jeffrey Wolin, Images from Written in Memory: Portraits of the Holocaust Portraits

Marianne Hirsch, “Reframing the Human Family Romance” Essay

Sharon Olds, “I Go Back to May 1937” Poem

– “Looking at Them Asleep” Poem

CHAPTER IV

NATIONAL GAZES: WITNESSING NATIONS

Key Rhetorical Concepts: context, metonymy, metaphor

Critical Frame

Intersections: Familial and National Gazes

The Rhetorical Work of Memorials

Reading Contexts through Metaphor and Metonymy

Remembrance: Rituals and Collective Identification

Readings

Dinitia Smith, “Slave Site as Memorial for Freedom” Newspaper Article

Marita Sturken, “The Image as Memorial” Essay

Roadside memorials Photographs

Diana Taylor,”Lost in the Field of Vision: Witnessing September 11” Essay

Four Images from the Franklin Delano Roosevelt Archives Portraits

Wendy Kozol, “The Kind of People Who Make Good Americans” Essay

The U.S. Flag as Cultural Icon Photographs

Aurora Morales, “Child of the Americas” Poem

Robert Kaplan, “The Rusted Iron Curtain” Essay

Maya Angelou, “Champion of the World” Memoir

Orlando Patterson and Jason Kaufman, “Bowling for Democracy” Op-Ed

CHAPTER V

TRAVELING GAZES: SHAPING MOBILE IDENTITIES

Key Rhetorical Concepts: identification and difference

Critical Frame

Identifying Tourists and Tourism

Troubling Binaries

The Economics of Tourism

Far and Away Places

Touring Differently

Readings

Elizabeth Bishop, “Questions of Travel” Poem

Adrienne Rich, “Atlas of the World” Poem

Catherine Lutz and Collins, “The Photograph as an Intersection of Gazes” Essay

Travel to India Recruitment poster/

Web page

James Clifford, “White Ethnicity” Essay

John Hockenberry, “Walking with the Kurds” Memoir

Jamaica Kincaid, “A Small Place” Essay

Haunani-Kay Trask, “Tourists, Stay Home” Essay

Evelyn Alsultany, “Los Intersticos: Recasting Moving Selves” Essay

Audre Lorde, “The Fourth of July” Memoir

Lilo and Stitch Movie poster

Lisa Nakamura, “Where Do You Want to Go Today? Cybernetic Tourism,

the Internet, and Transnationality” Essay

Jane Kuenz, “It’s a Small World” Essay

CHAPTER VI

CONSUMER GAZES: MADE IN THE USA?

Key Rhetorical Concepts: the appeals: logos, pathos, ethos

Critical Frame

Consumer Appeal

Logic, Ethics, and Emotion in Ads

Consuming College

Readings

Cynthia Enloe, “The Globetrotting Sneaker” Essay

Adbusters Advertisements

Charles Kernaghan, “An Appeal to Walt Disney” Letter

Martin Espada, “Coca Cola and Coco Frio” Poem

Espada/ the Nike Corporation Letters

Liza Featherstone, “Student Activists versus the Corporate University” Essay

Child labor Photographs

Sweatshop Poems

Denise Duhamel, “Manifest Destiny” Poem

Robert Pinsky, “Shirt” Poem

Naomi Shihab Nye, “Catalogue Army” Poem

Barbara Ehrenreich, “Maid to Order” Essay

Pam Spaulding, “New York City 1989” Portrait

Barbie/Doll Suite

Heid E. Erdrich, “Butter Maiden and Maize Girl Survive Death Leap” Poem

Susan Deer Cloud “Her Pocahontas” Poem

Denise Duhamel, “Oriental Barbie” Poem

–-, “Buddha Barbie” Poem

Rabbi Susan Schnur, “Barbie Does Yom Kipper” Essay

Sarala Nagala, “’Om’ Hinduism in American Popular Culture:

Global Strategy or Sacrilegious Mistake?” Essay

CHAPTER VII

DOCUMENTARY GAZES: REPRESENTING HISTORY

Key Rhetorical Concepts: documentary, genre, kairos

Critical Frame

Understanding (the) Genre

Documentary Images at War

Interventionist and Humane Gazes

Documentary as Advocacy

Documentary Outlaws: Challening Audience Expectations

Readings

Michael Ignatieff, “The Stories We Tell: Television and Humanitarian Aid” Essay

Susan Sontag, “Regarding the Pain of Others” Essay

Barbie Zelizer, “Conveying Atrocity in Image” Essay

Robert Coles, “The Tradition: Fact and Fiction” Essay

Paul Fischer, “Moore’s Lore Re-evaluates U.S. Gun Culture” Interview

Georgina Kleege, “Dream Museum: Blindness, Language, and Visual Art” Essay

Rosemarie Garland-Thomson, “The Politics of Staring: Visual Rhetorics

of Disability in Popular Photography” Essay

Catherine Filloux “Photographs from S-21” Play

Photography, Art, Blindness Photographs/

Catalog cover

CHAPTER VIII

DOING RESEARCH

Selection and Analysis of Primary Texts

Collect a set of primary sources and begin taking notes.

Select analytical tools to guide your analysis.

Analyze your primary sources.

Identify a representational trend.

Develop a preliminary argument.

Research and Annotation

Search library databases and websites.

Evaluate the quality and relevance of sources.

Genre

Subheadings and text features

Read and take notes on sources.

Drafting and Revision

The Annotated Bibliography

Bibliographic entry

Annotation: Summary

Evaluation

The Research Prospectus

Situating your topic: background and content

Situating the problem: kairos, or exigency

Situating your audience: significance

Situating your authority: ethos

Writing the (Draft) Research Paper

Describe and analyze primary sources.

Introduce secondary sources.

Refine and complicate your initial thesis.

Arrange the research paper draft.

Organize analytical claims and support.

Generate and place revised thesis.

Consider introductions.

Consider conclusions.

Finishing the Paper

APPENDIX

CONVERSATIONS ACROSS SECTIONS: ASSIGNMENT SEQUENCES

Sequence 1: Reworking the Family Album [Familial and National]

Sequence 2: Racing the Nation/Erasing Discrimination [National/Documentary Gazes]

Sequence 3: Under Western Eyes [Consumer/Traveling Gazes]

Sequence 4: Normalizing Gazes [multiple sections]

 

First-Year Composition - Reader  [VISUAL]   (Composition)

Rhetorical Visions uses the visual world that college freshmen live in and turns it into a rhetorical learning place.”

Beverly Neiderman, Kent State University

 

 

“From silence and passive immersion, students are brought into articulate and critical engagement

with the world of images and texts, and thereby, with the world itself.”

Adrielle Mitchell, Nazareth College of Rochester

 

 

“…[U]nlike many texts I have used to teach composition, the connections between key rhetorical elements and the thematic readings are

clear and coherent, challenging students to make connections between the two as they read…"

Justin Bain, Westminster College

This important new thematic reader systematically explores key rhetorical concepts in every chapter to help students analyze verbal and visual texts and to write with greater insight and purpose.  RHETORICAL VISIONS engages the eye, challenges notions of ourselves and the world around us, and inspires well-developed academic writing.  Included are:

 

* over 50 reading selections by important thinkers of our era.

* more than 180 images -- from funny to frightening

* generous support for thinking, reading, writing, and research

* access to a rich Web site for RHETORICAL VISIONS at www.prenhall.com/hesford

 

"RHETORICAL VISIONS uses the visual world that college freshmen live in and turns it into a rhetorical learning place."

- Beverly Neiderman, Kent State University

 

"From silence and passive immersion, students are brought into articulate and critical engagement with the world of images and texts, and thereby, with the world itself." 

- Adrielle Mitchell, Nazareth College of Rochester

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