Marouf Hasian Jr.
Critical studies of humanitarian discourses involve the study of the arguments, claims, and evidence that are used to justify intervention or non-intervention in key local, regional, national, or international contexts. These discourses can take the form of arguing over whether we should practice isolationism and not intervene in the sovereign affairs of other countries, or they can take the form of deliberations over the transcend needs of populations that cope with myriad disasters. In some cases these discourses are produced by foreigners who believe that the less fortunate need to be rescued from their misery, while at other times humanitarian discourses can be used in discussions about the human rights of the disempowered. Nongovernmental organizations (NGOs), nation-states, celebrities, medical communications, and militaries are just a few of the rhetors that produce all of these humanitarian discourses.
Ronald C. Arnett
Signification of human meaning dwells in ethics and culture, finding expression in and through rhetorical practices. Ethics and culture consist of goods and practices that gather the meaningful and the important together, yielding urgency for rhetorical employment of those practices. The union of ethics, culture, and rhetoric offers a coherent dwelling for the protection and promotion of the consequential. Ethics and culture house actions of meaningfulness that compel rhetorical expression, announcing a stance attentive to the vital, reminding self and informing other of a particular account of the consequential. Ethics and culture adjudicate a sense of ground that nourishes rhetorical understanding and engagement with the world. Rhetoric explicates practices of import that reflect the performative reality of ethics and culture, retelling self and other about the crucial. Rhetoric permits self and other to interrogate a ground of distinctive goods and practices that structure the noteworthy. Rhetoric facilitates discovery, testing, and knowledgeable implementation. It moves ethics and culture from points of abstraction to knowing public coordinates in a communicative social world that is impactful on self and others. The interplay of ethics, culture, and rhetoric in their triconstruction and enactment engenders human meaning. Rhetoric thrusts unique versions of ethics and culture into the public domain, and such action renders practical awareness of the existence of contrasting content of import. Acknowledging dissimilarity exposes and probes contrasting goods and practices. Rhetoric enhances public knowledge of differences undergirding juxtaposed ethical and cultural stances.
Zazil Reyes García
Political cartoons are rhetorical artifacts where journalism and popular culture intersect. Through the use of images and words, facts and fiction, political cartoons provide their readers with a point of view: a single frame loaded with vivid images and condensed meaning. Political cartoons perform several political and social functions; the main one is to provide political commentary on current events and social issues. Additionally, cartoonists often see their work as a weapon against the abuses of power. Thus, they seek to expose and ridicule the powerful. The result is not always funny, but it is often surprising.
Political cartoons are valuable objects of study for many disciplines, such as art history, journalism, and sociology. Studying political cartoons can give us information about past and present political processes and social imagery; it can also serve to understand how visual elements are used to communicate; but most importantly, it provides insight into the cultural values, beliefs, and attitudes of the societies that produce them.
Political cartoons are a form of communication with extraordinary rhetorical power. In order to construct meaning, and in hopes of persuading their audience, cartoonists use different rhetorical strategies, such as the use of metaphors and widely known cultural references. Like other rhetorical artifacts, political cartoons are not a straightforward form of communication. To understand one cartoon, people require multiple literacies, and often different people have different readings. Although the influence of political cartoons has diminished in some parts of the Western world, they continue to do political work around the world.
Nathan A. Crick
Poststructuralism represents a set of attitudes and a style of critique that developed in critical response to the growth and identification of the logic of structural relations that underlie social institutions—whether they exist in terms of politics, economics, education, medicine, literature, or the sciences. Poststructuralism should therefore not be thought of as a distinct philosophy that exists separately as its own “structure”—a proposition that would undermine its most fundamental attitudes. Rather, post-structuralism should be thought of as developing or arising only in response to pre-existing structures and, as a set of attitudes, helping us better understand, interpret, and alter our social environment by calling established meanings into question, revealing the points of ambiguity and indeterminacy inherent in any system, rejecting the rationalistic piety that all systems are internally coherent and circle around an unchanging center, showing how discourses are carriers of power capable of turning us into subjects, and placing upon us the burden of ethical responsibility that accompanies the acceptance of freedom.
Although post-structuralism by its very nature as a set of attitudes denies any attempt at comprehensive definition, this essay examines three of the major postructuralist thinkers in order to relate their thought to the study of communication. First, following Derrida, post-structuralist thought invites a critical deconstruction of any discourse that presents itself as completely coherent, centered, and rational. Post-structuralist approaches thus do not argue against a position by harnessing counterarguments drawing on a different set of principles. Rather, it deconstructs a discourse by occupying it and exposing the gaps, contradictions, paradoxes, and deferments, thus revealing its established hierarchies, binaries, logical conclusions, and principles to be far more loosely structured and poly-vocal than its advocates wish to present them. Second, following Barthes, poststructuralism refuses to locate any single point of origin of any text that can ground its meaning—particularly by pointing to some ground of the author. Although not denying that writers exist, Barthes refuses to identify the meaning of a text with the author’s biography and intentions, instead inviting multiple interpretations from the perspective of individual readers who encounter the text as a unique event. Therefore, just as discourses do not have a unified structure, neither do individual texts or the authors that produce them. Lastly, following Fouacult, poststructuralism invites an inquiry into how discourses, texts, and acts of communication are always implicated in relations of power that act upon possible actions. Following the first two propositions, poststructuralism does not analyze these relations of power as completely structured and determinate, however. Power relations are always within a dynamic relationship with acts of resistance, thereby constantly leaving space for freedom and possibility.
Nathan A. Crick
When John Dewey announced that communication was the most wonderful of all affairs, he recognized the centrality of communication within the tradition of American pragmatism. In other traditions of philosophy, such as idealism or empiricism, communication certainly played a role, but usually it was a secondary function of transmitting ideas from one mind to another. In idealism, ideas were discovered through intuitive revelation of the whole and only later expressed through transcendent eloquence, whereas in empiricism, particular data was attained purely by the senses and communication served a kind of documentary function of fact gathering. Pragmatism, however, inverted this traditional hierarchy. By arguing that the meaning of our ideas was only found in their effects and consequences in experience, particularly those consequences brought about through shared experience, pragmatists made communication both the origin and consummation of knowledge—regardless if that knowledge was practical, scientific, aesthetic, or social. Consequently, pragmatists believed that improving the quality of communication practices was central to improving not only the state of knowledge but the quality of our experience living together in a common world.
The concept of public culture refers most broadly to the dynamic negotiation of beliefs, values, and attitudes regarding collective association through media and other social practices that are defined by norms of open access and voluntary response. The concept is a recent innovation and applies primarily to modern societies, where public culture is the envelope of communication practices within which public opinion is formed; those practices can include news, entertainment, the arts, advertising, social media, and many other means for representing and judging any individual, institution, or custom having collective significance. The term “public” emphasizes relatively unrestricted communication across civil society regarding governance and other matters affecting the general welfare. The term “culture” emphasizes that public opinion depends on contextual factors that emerge through multiple media and embodied responsiveness. These considerations provide a basis for analysis of distinctively modern relationships across civil society, media technologies, and political action in a global context.
Isaac N. West
Queer studies in critical and cultural communication studies concerns itself with interrogating the symbolic and material manifestations of desires, sexualities, genders, and bodies in all manners of our lives, including public policy, everyday talk, protests and direct political actions, and media representations. Although the genealogy of this subfield often rehearses queer studies’ emergence as a point of radical rupture from previous theories and perspectives, another mapping of queer studies is possible if it is understood as an evolution of core questions at the heart of communication studies. Queer studies’ mode of inquiry generally involves a double gesture of identifying implicit and/or explicit biases of a communicative norm and promoting alternative ways of being in the world that do not comport with those norms. Indebted to and conversant with critical race, feminist, and lesbian gay, bisexual, and transgender studies, queer studies in critical and cultural communication studies occupies and contests the terrain of its own possibility in its attention to the intended and unintended consequences of privileging one set of cultural arrangements over another. Without any pure vantage point from which one may start or end a cultural analysis, communication scholars have embraced the contingencies afforded by queer studies to imagine otherwise the cultural legitimacy afforded to some bodies and not others; the necessity of sanctioning some sexual desires and not others; the intersectional affordances of sexuality, race, gender, ability, and class; more and less effective modes of dissent from the various normativities governing our behaviors and beliefs; and the necessity of memory politics and their pedagogical implications.
The convergence of rhetoric, culture, and communication has led to the development of two predominant areas of study within the field of communication: intercultural rhetoric and comparative rhetoric. Intercultural rhetoric illustrates how culture-based arguments are constructed by advocates during intercultural interactions and how the arguments make sense within a particular cultural frame or worldview. These studies attempt to represent the cultural sensibility and rhetorical traditions invoked by a particular intercultural interaction. Rhetorical practices are seen as emerging from the beliefs and values of distinctive cultural communities, and the convergence of intercultural communication and rhetoric becomes evident when people act rhetorically and their diverse cultural assumptions gradually or suddenly become apparent during intercultural interactions. Comparative rhetoric focuses on the cross-cultural study of rhetorical traditions, past or present, in societies around the world. Comparison of (rather than interaction between) the rhetorical practices of two or more cultures is often the focus of comparative rhetoric studies. Comparison helps in the identification of rhetorical features in one culture that might not be evident otherwise, to unearth what is universal and what distinctive in any rhetorical tradition, including that of the West. Intercultural rhetoric and comparative rhetoric share some conceptual and methodological features; both fields are characterized by similar beginnings and some shared debates. However, they also have distinct characteristics, challenges, and historiographies.
For intercultural rhetoric, approaching intercultural contexts and situations utilizing theories and concepts from rhetorical studies affirms non-Western modes of reasoning and advocacy. Recent methodological developments have allowed critics to more comprehensively represent rhetorical traditions and to discover novel ways to understand intercultural conflicts and mediate cultural differences. Conceptualizing rhetorical situations as intercultural dialogues suggests the ways in which intercultural rhetorical theorists need to be mindful of the multivocal quality of social discourses.
Rhetorical interpretation of texts benefits from a comparative approach that allows for speculation with respect for and grounding in another culture’s history, as well as reflection on the cultural outsider’s motive and assumptions. It is useful for the quest of meaning not to be limited to the standpoints within each disparate culture; pragmatically, they must have a dialogue since comparative rhetoric allows the analysis of different discourses, the discovery of common grounds of engagement, and the revelation of cultural assumptions.
Jennifer A. Malkowski, J. Blake Scott, and Lisa Keränen
Rhetoric, commonly understood as the art, practice, and analysis of persuasion, has longstanding connections to medicine and health. Rhetorical scholars, or rhetoricians, have increasingly applied rhetorical theories, concepts, and methods to the texts, contexts, discourses, practices, materials, and digital and visual artifacts related to health and medicine. As an emerging interdisciplinary subfield, the rhetoric of health and medicine seeks to uncover how symbolic patterns shape thought and action in health and medical texts, discourses, settings, and materials.
In practice, rhetoricians who study health and medicine draw from the standard modes of rhetorical analysis, such as rhetorical criticism and rhetorical historiography, as well as from social science methods—including participant observation, interviewing, content analysis, and visual mapping—in order to deepen understanding of how language functions across health and medical objects, issues, and discussions. The objects of analysis for rhetorical studies of health and medicine span medical research, education, and clinical practice from laboratory notes to provider–patient interaction; health policymaking and practice from draft policies through standards of care; public health texts and artifacts; consumer health practices and patient advocacy on- and offline; public discourses about disease, death, bodies, illness, wellness, and health; online and digital health information; popular entertainments and medical dramas; and alternative and complementary medicine. Despite its methodological breadth, rhetorical approaches to science and medicine consistently involve the systematic examination and production of symbolic exchanges occurring across interactional, institutional, and public contexts to determine how individuals and groups create knowledge, meanings, identities, understandings, and courses of action about health and illness.
Style is in the traditional canon of rhetoric and means the manipulation of language for rhetorical effect. Historically, eras that emphasized style in rhetoric also tended to regard rhetoric as of secondary importance in public discourse, as the window dressing for logic and more substantive modes of invention.
When we think of style more broadly as the use of gesture, clothing, decoration, objects, grooming—in short, of style in the more colloquial sense of “he’s got style”—then we see a wider and more important role for style as a major form of rhetoric. Today, the need of global capitalism to sustain artificially high levels of consumption is largely achieved through a rhetoric of style. The public must be persuaded to churn its clothing, decoration, grooming styles, and so forth constantly to keep consumption up, and the most effective way to achieve that end is through creating in people a preoccupation with style. Once that happens, then style becomes the major way in which we think about presenting ourselves to others. Style becomes the way in which people say who they are, who they want to be, and who they feel opposed to. Style becomes a major expression of political commitment.
In short, style has become a major if not the major rhetorical system at work in the world today. We understand what others mean, and we influence others, through style much more than we do through carefully planned discursive discourses, argument, and expository presentations. Because global capitalism is the engine behind this preoccupation with style, style is a system of communication likely to increase in dominance and importance.