This thesis examines Fielding Burke's Call Home the Heart, Grace Lumpkin's To Make My Bread, and Myra Page's Gathering Storm through the lens of ecofeminism, an interdisciplinary theory that contributes the necessary insight into the link between the abuse of power on personal, political, and economic levels that underlies the human oppression and environmental exploitation experienced by the novels' characters and communities. A resurrection of the Gastonia novels through the framework of ecofeminism will contribute to the scholarly discourse regarding this maturing theory as well as intensify the critical body of work concerning the Gastonia novels themselves. This thesis, in conjunction with the works of instrumental Appalachian scholars, literary critics, and historians as well as major landmark texts in the field of ecofeminism such as Kathy Warren's Ecofeminism: Women, Culture, Nature and Greta Gaard's Ecofeminism: Women, Animals, Nature, purposes to advance the critical standing of the Gastonia novels.

The West has long been an important geographic and symbolic space for the United States. In the 19th and 20th centuries that space became the subject of numerous popular works of fiction, first in print and later in the cinema. These texts eventually formed a specialized genre, the Western, which had its own conventions, styles, and themes. Wallace Stegner's Angle of Repose and Fred Zinnemann's High Noon, both seminal western texts from the mid-twentieth century, seek to reinterpret those conventions. While the Western is often characterized as a genre of violent masculinity and rugged individualism, these two texts employ conventional Western motifs in an effort to articulate a metafictional criticism of those ideas. Ultimately, they posit a reality in which traditional portrayals of the West lead to alienation, while also advocating an escape from that alienation.

Epideictic rhetoric, one of the classical modes of persuasion described by Aristotle, has faced some criticism concerning its value in the realm of rhetoric. Though attitudes have been shifting over the last several decades, there is still a tendency to undervalue epideictic, falling back on the Aristotelian system of ceremonial oratory. However, its “praise and blame” style of persuasion employs of the type of rhetor / audience identification described by Kenneth Burke. Epideictic rhetoric is a major component of virtually any communication, as the speaker or writer seeks to create a bond with that audience so as to persuade them of something. This is evident in Victorian women's travel narratives; not necessarily noted for rhetoricality, they are nonetheless powerfully rhetorical in their prose as they foster emotionally- based identifications. Through their employment of epideictic description, travel narratives are not merely showpieces, but rather catalysts for social consciousness and change. As we move from the civic discourse-based Aristotelian classification of epideictic to encompass literary works like the travel narrative, the multifaceted value of epideictic is undeniable.

This article examines the role of epideictic rhetoric as a tool for promoting civic virtue in the public realm through the application of Kenneth Burke's theory of identification and John Dewey's explanation of an aesthetic experience. Long the jurisdiction of Aristotle's logical arguments, civic discussion usually works within the realm of forensic or deliberative persuasion. However, scholarship in the last fifty years suggests there is an unexplored dimension of Aristotle's discussion of epideictic and emotion that needs to be examined in an attempt to identify its usefulness as a tool for examining human experience and practical behavior in the political realm. I attempt to add to the discussion by exploring the presidential funerals of Abraham Lincoln, John F. Kennedy, and Ronald Reagan as opportunities for a nation to display a hero's virtues as extensions of society's virtues. Virtues often define what a nation considers good which, in turn, influences the nature of the discussion and often determines political action.

Although philosopher Robert Solomon and rhetorician Kenneth Burke wrote in isolation from one another, they discuss similar concepts and ideas. Since its introduction in Burke's A Rhetoric of Motives, identification has always been important to rhetorical theory, and recent studies in emotion, such as Solomon's, provide new insight into modes of identification—that human beings can identify with one another on an emotional level. This paper places Solomon and Burke in conversation with one another, arguing that both terministic screens and emotions are ways of seeing, acting, engaging, and judging. Hence, terministic screens and emotions affect ethos, or character, both in a specific moment and over periods of time as they are cultivated through habit. Because emotions influence ethos, it is important for a speaker to cultivate the right emotions at the right time—Solomon's notion of emotional integrity. Emotional integrity facilitates Burkean identification between speaker and audience because it enables human beings to see the other as synecdochically related to themselves, a part of the whole. Hence, this paper ultimately argues that a speaker will improve his or her ethos by cultivating emotional integrity.

In real life we each experience the world separately through our individual bodies, which necessitates what Kenneth Burke calls "identification." In this paper, I assert that as artistic media have structured our aesthetic experience in a way that increasingly resembles our lived, embodied experiences, our identification with fictional characters requires less imaginative effort and is more automatic and powerful. I will show this by analyzing how we inhabit characters through sensory engagement, point of view, and narrative form in literature, film, and video games (specifically action/adventure games, RPGs, and MMORPGs). I will then build off of Burke's foundational theory to articulate a clearly defined spectrum of identification as it occurs in art, emphasizing that identification through video games is the most immediate and powerful. To conclude, I'll consider how video games—a young and stigmatized art form—can formulate our identities and increase our ability to identify with others in real life, where we cannot inhabit each other's bodies.

Students in required writing courses often fail to see the purpose of their writing and invest themselves in their writing. Many composition pedagogues have noticed that one solution to this problem is to help students publish their writing, and have reported the positive outcomes of their publication-focused courses. However, this practice has not been grounded in theory. My project connects the practice of publishing student writing to theory. I draw on Kenneth Burke's and other's ideas of text as action and show how the ancient cannon of delivery is a necessary means of experiencing and understanding text as action with consequence. I then argue that publishing is one of the most effective methods of delivery that can help students understand the implications of enacted texts. I then couch this theory in practice by presenting a variety of sources that report on the impact of publishing student texts; I include my own data collected while teaching two publication-focused, first-year writing courses at Brigham Young University during Fall 2012 and Winter 2013 semesters. This data suggests that in most cases, publishing student writing positively impacts student identity, motivation, process, and product. I explain the results of my own observations and those of various composition pedagogues with the theory of text as action being powerfully experienced by students as they work toward delivering their texts to public audiences via publication.

This thesis applies Kenneth Burke's method of logology as exemplified in The Rhetoric of Religion to analyze the Mormon text Doctrine and Covenants Section 88. This method of logology is based on the assumption that what is said about God in theology reveals a religion's use of language to influence human motives. The logological method uses six analogies to discover the motives implicit in religious terminologies. These six analogies are as follows: words-Word, Matter-Spirit, the Negative, the Titular, Time-Eternity, and the Formal.This study revealed that the terminology contained in Doctrine and Covenants uses motives far diferent from the motives of traditional Christianity as described by Burke. Primary differences include the existence of a cluster of god-terms that describes a universal hierarchy, and emphasis on and affirmation of the physical, and an emphasis on the positive. An examination of these terms and motives can help Mormons better appreicate the advantages inherent in their terminology as exemplified in Section 88.

Because the terms art and aesthetic are often ambiguously used, the purpose of this study was to develop a method of analyzing and clarifying their usage in written texts. Chapter I includes hypotheses and assumptions of this study. The first hypothesis was that it is possible to develop a systematic, objective, and replicable method of analyzing and clarifying the usage of art and aesthetic in art education texts. The second hypothesis is that, as a result of this analysis, it is possible to compare the usage of art and aesthetic in one text with the usage of these same terms in another. The two texts chosen as sources of data were Becoming Human Through Art by Edmund Burke Feldman and Emphasis; Art by Frank Wachowiak and Theodore Ramsey. The assumptions upon which this analysis was based are (a) that frequency of mention indicates author emphasis, and (b) that, based on analysis which indicates emphasis, summary definition of an author's teaching beliefs regarding art and aesthetic would be possible. Although both hypotheses are accepted, limitations of the method result from the subjectivity which existed in the selection of variables, the inference of contextual meaning which determined placement of variables in categories, and inference of emphasis based on resulting frequencies. Recommendations for further research are (a) examination of categories for appropriateness and inclusion of all relevant variables; (b) use of the method of contingency analysis to determine the usage of other ambiguous words and phrases; (c) use of variables associated with art and aesthetic as a thesaurus for future reference; and (d) application of the method to other literature in art education, transcribed interviews, and/or classroom instruction.

The aim of this study is to, from a rhetorical perspective, contribute to the ecolinguistic discipline. This is done by demonstrating which and how underlying narratives are constructed in two Swedish documentary series with the theme "life on a farm". By setting these narratives against an ecosophy and using the concept rhetorical agency, this study thereafter highlights how these narratives can be understood as means of influence. The research questions guiding the study are: “Which underlying narratives are constructed and conveyed in selected Swedish documentary series with the theme "life on the farm"?”, “How are these underlying narratives constructed?”, and “How can these underlying narratives, in the long run, be seen as means of influence?”. The theoretical frame is based on Arran Stibbes take on Ecolingustics. The method used is Rhetorical criticism based on Kenneth Burke's pentadic analysis. The study shows, among other things, that both series can be seen as means of influence because of identification possibilities. Through the knowledge conveyed to the viewer, there are also opportunities to expand their rhetorical agency. From an ecolinguistic perspective "Mandelmanns gård" can be a beneficial story to build on.