No description available.

Thesis (Ph. D.)--University of Texas at Austin, 2007. / Vita. Includes bibliographical references.

Thesis (M.A.)--Villanova University, 2006. / Communication Dept. Includes bibliographical references.

In just five years West Virginia was rocked with two devastating disasters in the coal mining industry. Despite the disasters, West Virginians could not just walk away from the mines, as they depended on the coal industry for jobs and tax revenue. West Virginia had built a purpose-driven orientation towards the coal industry through a historical and current dependency on coal. However, the two disasters had a chance to alter that dominant orientation. In order to understand how or if the coal orientation was altered, by the disaster or the discourse that followed, a pentadic analysis was completed. The analysis revealed that the coal companies constantly battled a tension between the elements of agency and purpose, while trying to overcome a scene that made safety challenging. In the end, one mining company altered the purpose-driven orientation, as the other reinforced the orientation. As both of the situations offered different orientations towards coalmining, their orientations showed that coal companies can be purpose-driven providers but also a responsible provider, understanding not only that miners need a paycheck, but also safety. In the end, when companies use the purpose-driven orientation, created from the history, present, and future of the West Virginia coal industry, their orientation drives profits and reduces the importance of safety for the coal miners, making coal mining a risky business. However, after just one disaster, despite the mining company\'s orientation, the companies become providers to no one / Master of Arts

No description available.

No description available.

Esta dissertação procura discutir como a obra de Edmund Burke, Uma Investigação Filosófica sobre a Origem de nossas Idéias do Sublime e do Belo, introduz um sentido novo de sublime, distinto daquele presente nas poéticas e retóricas clássicas, a partir do rompimento dos paradigmas da clareza e do prazer. Ao caracterizar a experiência do sublime como marcada por incertezas, ambigüidades e contradições, em que os objetos da contemplação são vistos apenas de maneira parcial e obscura, Burke descreve uma experiência que não depende do primado da visão e que, portanto, abrange os demais órgãos do sentido e seus vocábulos. Essas questões são pensadas a partir do modo como o autor reorganiza três antigas dicotomias do pensamento clássico: dor e prazer, corpo e mente, palavra e coisa. No capítulo primeiro, acerca dos pressupostos da experiência do sublime em Burke, (as paixões violentas e mistas e o sentimento de autopreservação), discutimos como prazer e dor não se articulam no autor como ganho e perda, mas enquanto relações efetivas de oposição, e como isso se mostra na fruição do espectador, sobretudo em relação aos espetáculos trágicos, sejam eles fictícios ou reais. No capítulo segundo, a descrição das paisagens vastas e ilimitadas servem de argumento para a restrição de Burke à atuação da visão na experiência do sublime. Ao ser incapaz de estabelecer os contornos do objeto que contempla o espectador se vê diante de um jogo de expectativa e surpresa (tensão e relaxamento) que mais se assemelha às ascensões e quedas de uma peça musical, ou aos movimentos respiratórios do corpo, criada por edifícios arquitetônicos e jardinspaisagens. No capítulo terceiro, discutimos a defesa de Burke de uma linguagem não imagética, que não comunica ou afeta por idéias sensíveis. Não mais vista como imagem, ou representação, a palavra ganha um estatuto de coisa em sua dimensão concreta, áspera e irregular. A poesia e a retórica também estão entre os temas debatidos, sobretudo a partir de seu contraste com a pintura e em oposição ao princípio humanista do Paragone, ou a comparação entre as artes. / This dissertation aims to make a discussion on how Edmund Burkes A Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful introduces a new sense of the sublime, distinct from the one conceived by classical poetics and rhetoric, due to its opposition to the paradigm of clarity and pleasure. Once Burke portrays the sublime experience as being tinged with uncertainties, ambiguities and contradictions, where the objects of contemplation are only seen partially and obscurely, the experience he describes doesnt depend on the supremacy of vision and, as such, comprises the other senses. These questions are tackled by looking at the way the author rearrange three old dichotomies in classical thinking: pain and pleasure, body and mind, word and thing. In the first chapter we make a discussion on the grounds of Burkes sublime experience (the violent and mixed passions and the sense of self-preservation), and how pleasure and pain are no longer thought by the author as a loss and gain relation, but as truly and effectively oppositions. This is also shown in the pleasure the spectator feels while contemplating a scene from a real or a fictitious tragedy. In the second chapter, the descriptions of vast and boundless landscapes serve Burke as a further argument on the restricted role vision plays in the sublime experience. Incapable of setting the bounds to the contemplated object, the spectator sees himself winded in a game of expectation and surprise (stress and relief) which somehow resembles the rises and falls of a musical piece, or the breath movements of the body, created by buildings and landscape gardens. In the third chapter, we discuss Burkes attack on the opinion that words communicate and affect by sensible images. Disentangled from the image, or representation, words can then be seen as things, in their tangible, rough and irregular shapes. Poetry and rhetoric are also among the topics discussed in this chapter, especially from their contrast with painting, and from Burkes opposition to the humanistic Paragons principle.

Esta dissertação procura discutir como a obra de Edmund Burke, Uma Investigação Filosófica sobre a Origem de nossas Idéias do Sublime e do Belo, introduz um sentido novo de sublime, distinto daquele presente nas poéticas e retóricas clássicas, a partir do rompimento dos paradigmas da clareza e do prazer. Ao caracterizar a experiência do sublime como marcada por incertezas, ambigüidades e contradições, em que os objetos da contemplação são vistos apenas de maneira parcial e obscura, Burke descreve uma experiência que não depende do primado da visão e que, portanto, abrange os demais órgãos do sentido e seus vocábulos. Essas questões são pensadas a partir do modo como o autor reorganiza três antigas dicotomias do pensamento clássico: dor e prazer, corpo e mente, palavra e coisa. No capítulo primeiro, acerca dos pressupostos da experiência do sublime em Burke, (as paixões violentas e mistas e o sentimento de autopreservação), discutimos como prazer e dor não se articulam no autor como ganho e perda, mas enquanto relações efetivas de oposição, e como isso se mostra na fruição do espectador, sobretudo em relação aos espetáculos trágicos, sejam eles fictícios ou reais. No capítulo segundo, a descrição das paisagens vastas e ilimitadas servem de argumento para a restrição de Burke à atuação da visão na experiência do sublime. Ao ser incapaz de estabelecer os contornos do objeto que contempla o espectador se vê diante de um jogo de expectativa e surpresa (tensão e relaxamento) que mais se assemelha às ascensões e quedas de uma peça musical, ou aos movimentos respiratórios do corpo, criada por edifícios arquitetônicos e jardinspaisagens. No capítulo terceiro, discutimos a defesa de Burke de uma linguagem não imagética, que não comunica ou afeta por idéias sensíveis. Não mais vista como imagem, ou representação, a palavra ganha um estatuto de coisa em sua dimensão concreta, áspera e irregular. A poesia e a retórica também estão entre os temas debatidos, sobretudo a partir de seu contraste com a pintura e em oposição ao princípio humanista do Paragone, ou a comparação entre as artes. / This dissertation aims to make a discussion on how Edmund Burkes A Philosophical Enquiry into the Origins of our Ideas of the Sublime and Beautiful introduces a new sense of the sublime, distinct from the one conceived by classical poetics and rhetoric, due to its opposition to the paradigm of clarity and pleasure. Once Burke portrays the sublime experience as being tinged with uncertainties, ambiguities and contradictions, where the objects of contemplation are only seen partially and obscurely, the experience he describes doesnt depend on the supremacy of vision and, as such, comprises the other senses. These questions are tackled by looking at the way the author rearrange three old dichotomies in classical thinking: pain and pleasure, body and mind, word and thing. In the first chapter we make a discussion on the grounds of Burkes sublime experience (the violent and mixed passions and the sense of self-preservation), and how pleasure and pain are no longer thought by the author as a loss and gain relation, but as truly and effectively oppositions. This is also shown in the pleasure the spectator feels while contemplating a scene from a real or a fictitious tragedy. In the second chapter, the descriptions of vast and boundless landscapes serve Burke as a further argument on the restricted role vision plays in the sublime experience. Incapable of setting the bounds to the contemplated object, the spectator sees himself winded in a game of expectation and surprise (stress and relief) which somehow resembles the rises and falls of a musical piece, or the breath movements of the body, created by buildings and landscape gardens. In the third chapter, we discuss Burkes attack on the opinion that words communicate and affect by sensible images. Disentangled from the image, or representation, words can then be seen as things, in their tangible, rough and irregular shapes. Poetry and rhetoric are also among the topics discussed in this chapter, especially from their contrast with painting, and from Burkes opposition to the humanistic Paragons principle.

Master of Arts / Department of Communication Studies / Charles J. G. Griffin / The term and concept of identification is a familiar one. The modern communication scholar’s knowledge of the term identification is drawn more directly from the works of Kenneth Burke. In 1950 Kenneth Burke released his book “A Rhetoric of Motives” and from this Burke outlined his concept of identification. To Burke, identification is a rhetorical process that leads to persuasion, and the identification process encompasses all the traditional forms of rhetoric as a category of tools to establish identification within rhetorical discourse (Burke, 1950; Day, 1960). The concept of identification has been applied generously as the field of rhetoric has progressed. However, a minimal amount of research connecting identification and the rhetoric of social movements has been conducted. This is a problem, because social movements rely heavily on persuasion and influence to garner audience support, so a deeper investigation into identification and social movement rhetoric is warranted. In recent years the marriage equality movement has seen a rapid amount of success in establish same-sex marriage in a variety of states. What has changed that has allowed these movements to reach so much success so quickly? I believe the answer to this question lies in the rhetoric of these movements and their use of identification. This thesis asks an overarching question; “Does identification help to explain the success of a social movement?” Applying Burke’s concept of identification to two marriage equality movements, Minnesotans United for All Families and Fair Wisconsin, this thesis seeks to determine the role identification plays in a social movements success or failure. What this thesis finds is that identification is a vital component in determining a social movements overall success. Identification is a two-step process, where first identification strategies need to be present within a social movement’s rhetoric. For identification strategies to be effective not only must the strategies be present but also the audience must link these strategies with their subconscious and thereby include the movement as a part of his or her identity. In conducting this thesis critical implications are drawn in relation to identification theory, organizational recruitment and maintenance, as well as community building and engagement.

Both France and the U.S. have witnessed extensive immigration in the twentieth century, and today, more than ever since World War II, the world's population is in dramatic flux. Currently almost fifty-four million people worldwide are identified by the Office of the United Nations High Commissioner for Refugees (UNHCR) as displaced people. If and how France and the U.S. should accommodate displaced peoples has agitated political debate in France and the U.S. with conservatively aligned political parties in both countries rejecting calls to resettle displaced peoples in France and the U.S. At the center of this dissertation is the following research question: how are immigrants rhetorically constructed in high school French and U.S. history textbooks? Rhetoric is not just about persuading an audience; it is about using identifications that program the audience not to think, but to automatically believe that one thing is associated with another. In this dissertation I use Kenneth Burke’s rhetoric as identification to examine how immigrants are rhetorically constructed in four high school French history textbooks and two high school American history textbooks, all of which are widely distributed in their respective countries. I disarticulate rhetorical constructions of immigrants in these history textbooks by interrogating the interactions of their political, economic, social, and cultural structures. In Burke’s rhetoric as identification "social cohesion and control" are realized through apposition and opposition. In the following quotation Burke explains a salient element of his rhetoric as identification: “A is not identical with his colleague, B. But insofar as their interests are joined, A is identified with B. Or he may identify himself with B even when their interests are not joined, if he assumes that they are, or is persuaded to believe so.” Why are so many people in France and the U.S. persuaded that peoples displaced by war and poverty should be locked outside their borders? Through a Burkean analysis, I locate answers to this question in the historical master narrative evidenced in the high school French and U.S. history textbooks selected for this study--a narrative that rhetorically constructs skewed characterizations of immigrants.