In troubles talk conversations, problems are disclosed and discussed. When responding to problem disclosures, advice is one common response where the respondent recommends how to think, feel or act in response to a problem. This thesis focuses on extending our understanding of advice messages, with a main research question focused on determining if advice occurs in initial interactions between strangers. Through an analysis of 125 transcribed conversations, advice was present in 38.4% (n = 44) of the conversations. Advice was offered in response to less serious problems, supporting the first hypothesis. There was no support found for the positive association between the presence of advice and positive evaluations of helpfulness; additionally, there was no support found for a negative association between the presence of advice and negative evaluations of supportiveness or sensitivity. Finally, no difference was found supporting a decreased desire to interact further with an advice giver. While advice occurs in initial interactions, there may be additional influences beyond the provision of advice messages influencing helper evaluations of supportiveness and the desire for future interactions.

Since its etymological beginnings, the meanings and usages of nostalgia have shifted markedly. In the shifting, nostalgias associations with the body and with the concept of home has diminished. This study of African American nostalgia for Africa uses genealogical inquiry, personal and autoethnographic narrative, and performance theories and practices to reinvigorate the relations between body, memory, aesthetics, past, and home. Attending to operations of time and space, I theorize the aforementioned relations in order to build a theory of critical nostalgia. Following Debbora Battaglia, I argue and illustrate that nostalgia is an act realized in performance, and I develop my theory of critical nostalgia by investigating three primary sites of memory: two African American genealogy websites, Elmina Castle, a slave castle located on Ghanas West coast, and my own staged theatre production Copious Notes: A Nostalgia Tale. Informed by Michel Foucaults method of critical genealogy and Joseph Roachs genealogies of performance, I offer critical nostalgia as a method of scholarly inquiry, as an active practice of personal and cultural memory, as a tool for representing memories of past-homes, and as a compositional aesthetic. In the study, I interrogate the history of nostalgia and its use for scholars as a critical category. Theorizing the positionality of the corporeal black body within nostalgic appeals of home, homeland and community, I attend to the relations between origin, roots, and identity. Further, I explore the performative possibilities of nostalgia in relation to affective bodily experience and in relation to narratives of trauma. Finally, I illustrate the utility of critical nostalgia for creating aesthetic performances sensitive to time and space, and I synthesize the major tenants of critical nostalgia for use in performance praxis.

This study examines how ghosts perform and are performed in southern Louisiana, particularly in the eclectic Baton Rouge enclave of Spanish Town and at The Myrtles Plantation in St. Francisville. Although The Myrtles, considered one of the most haunted locations in the United States, served as the genesis for this project, I explore the continuities and discontinuities of the histories and historicities of these two distinct places and my journeys between them over a five year period. Using critical ethnography as a grounding framework, the study draws from literature in tourism studies, performance studies, and other related areas of research, to illustrate how these sites figure histories that are simultaneously informed and troubled by ghostly matters. The study is structured as a performative journey. Chapter One establishes an itinerary, explaining the theory and methodological tools employed in the study. Chapter Two explores the performance of tourism and the ways in which it is inevitably bound up in increasingly complicated notions of home. As the beginning of the journey, it contextualizes the places that anchor the study. Chapter Three revisits Highway 61 and utilizes this liminal space to examine elided histories that will serve as a context and provide insight into the primary ghost at the heart of this study, Chloe, as well as the other ghosts she brings with her. Chapter Four provides a thick description of the grounds of The Myrtles and uses the categories of touristic performance to examine how tourists navigate the spaces prior to taking a tour. Chapter Five provides the reader with a tour of the house. Performed by three different guides, this tour illustrates how the guides function as mediums between ghosts and guests on the tour. In Chapter Six, I situate this journey in relation to how other scholars employ haunting and hauntology as a theoretical perspective and methodological tool before heading off in another haunted direction that explores implications for future research.

Churches provide a structured medium for human spiritual experiences (Ammerman, 2005) and as such are structured around a set of organizationally unique purposes and beliefs. This research project focuses on the leadership teams of a start-up church organization founded in Denver, CO. Guided by Structuration Theory (Giddens, 1984), Communicative Constitution of Organization through the Four Flows (McPhee & Zaug, 2000), and Organizational Identification (Scott, Corman, & Cheney, 1998), the bi-directional relationship between leaders and the organization was qualitatively examined and analyzed. Specifically, membership negotiation is seen through the constructs of formal structure and identity. The negotiation process was evident in the team through the process of communicating and enacting a DNA metaphor. Membership negotiation is found to encompass the negotiation of individual and organizational identity, as well as organizational identification. The church leadership team, as it currently functions, demonstrates the complexity of identity construction and maintenance within a highly participative and belief driven organization. Through this research there are implications for concertive control and organizational identification negating some of the role tensions for organizational leaders. Overall, structure and agency within the Pearl Church organization is the result of communicative negotiation of importance, belonging, and purpose.

Masada, a Herodian fortress and the site of an ancient struggle between Jews and Romans that culminated in a mass suicide by 960 Jews, is a symbolically important site for the country of Israel and for the Jewish people. Previous research on Masada has focused on how the story about the site, told through popular culture, in history books, and at the site, has been used to create and maintain a national Israeli and, more broadly, Jewish identity. Masada is the second most visited site in Israel, attracting over 800,000 people each year, and the number of visitors to the site has steadily increased over the last thirty years. When tourists visit Masada, they hear the story of the site and the story is framed so tourists will have a meaningful experience. While some scholars have looked at how the Masada story gets told to tourists who visit the site, these studies all tend to ignore what tourists do at the site. The research, presented this way, seems to assume that tourists and others who hear the story are passive recipients. I argue that tourists who visit Masada take a more active role in the meaning they get from their visit. In this dissertation I focus on what tourists and others do at Masada. I frame these actions as performances, conscious and deliberate acts that constitute who a person is and how they want to be seen. I argue that the touristic performances at Masada are expressions of the meaning that people get from the site and from being on tour. I conclude that being on tour encourages a fluid approach to individual and national identity. As tourists contend with the site, other tourists, and their own identity, tourist sites can be productive spaces to explore who a person is and who they want to be.

This thesis examines Cornel Wests description of the human condition and the works of art produced in three particular ways. First, there is being human which is a universal condition that speaks to all people and their struggles in the face of death and fallibility. Second, there is the condition of being modern, which speaks to people in a particular age in which power must be challenged with intelligence. Third, there is the idea of being American, which is to confront historical legacies of injustice through political action and agency. Rhetoric speaks to these existential crises and draws its resources from jazz, blues, tragicomic and prophetic pragmatism to create a community of affiliation and rich discourse thats beneficial and productive for all.

This is an ethnographic study of the drumline of the LSU Marching Band and the mock-fraternity they created called Phi Boota roota (ΦBr). I argue that ΦBr was created as a site to flesh out the various tensions members experience as members of the LSU drumline; they create a rite of passage ritual that functions as a carnivalesque and celebratory inversion of the system they find themselves submerged within. Phi Boota roota marks a created articulation of the transition members make when they become part of the larger ritual of Tigerband; it is a voluntary or liminoid ritual that allows members to deal with the excess parts of their own personalities and individuality while fully embracing, though at times parodying, their inherited identity and image as members of the LSU Band. Through the use of performative writings combined with more traditional ethnographic field reports and descriptions/interpretations, this thesis strives to give voice to the tensions felt within the rituals of Tigerband and ΦBr, the tension of representation within ethnographic study, and the tension of creative experimentation within academic writing. Throughout the study, I use the metaphor of "audiation" to experiment with representing ethnographic experience and knowledge. Audiation is the practice of thinking and comprehending music with your mind, and it functions as a pedagogical tool for creating and remembering sound. Metaphorically, audiation illustrates an action that requires both memory and creativity; a process that gives sound/motion to a sounding/action by re-creating it in the mind. These audiations provide a forum for both the traditional and the inventive to resonate within the context of an ethnographic exploration of the performance of ΦBr.

This study will analyze the relationship between myth and the fantasy rhetoric of charismatic leadership by employing Fantasy Theme Analysis to examine the pervasive discourses invoking this enduring folk belief. Fantasies of the Charismatic Superhero are explored within the popular leadership treatises of successful management gurus and in our popular culture entertainments. The rhetorical visions of Stephen Coveys Principle-Centered Leadership, Jim Collins Level 5 Leadership, and Manz and Sims' SuperLeadership are examined for their displacement of charismatic leadership in favor of the empowered crypto-charisma of self-leading memberships. Findings suggest empowerment rhetorics, like the rhetorical visions championed by many populist gurus, bear striking similarities to the fantasy script of charisma and tacitly champion mythic culturetypes that are variations on known routinizations of charismatic leadership: the Ubermensch Prophet, the Messianic Prince, the Servant Superhero, or Technocratic Superteams.

Margaret Sanger's rhetoric in the US birth control movement demonstrates the social forces that act upon rhetors and women's bodies, conforming both to established gender norms even as they attempt to violate those standards. This project studies Sanger's birth control rhetoric to understand how her arguments for women's right to contraception conformed women's bodies to traditional feminine notions despite her early efforts to contradict such dictates of domesticity. Research on nineteenth-century feminist rhetors demonstrates a pattern of women challenging feminine ideals by speaking publicly but replicating the familiar themes that women must care for others. To explain such a pattern, this study combines the theories of interpretation and genealogy to analyze texts' meanings with a respect for the ways that social forces conform speakers to already established norms and themes. This project follows genealogical demands for a complex history by discussing the discourses that challenge and support early twentieth century birth control rhetoric . Early themes in Sanger's rhetoric focus on issues of class and women's personal liberation. Analysis shows that Sanger begins by addressing the class oppression working class experience before engaging in class maternalism in which she condescends to lower class women setting upper class women as examples of bodily discipline. Sanger's early themes of birth control as women's liberation give way to an emphasis upon women using birth control to better serve their families, thereby fulfilling their maternal duties. Later themes in Sanger's rhetoric emphasize birth control's utility to the state for managing the rate and quality of women's reproduction. The movement from earlier to later themes in Sanger's rhetoric shifts from speaking about women as subject with control of their bodies to objects whose bodies must be controlled. Employing capitalistic themes, Sanger argues that women's rate of reproduction must be controlled to safeguard national security. Using notions of social evolution, Sanger engages in eugenic discourse to demand the control of women's bodies who produce unfit offspring. The sweep of Sanger's rhetoric proves the utility of genealogical interpretation to understand the dynamics of power and discourse that conform feminist speakers to accepted gender definitions.

Museums in general are shrines of collected memory and cultural values. The National D-Day Museum, in particular, presents the memory of World War II as a good and just action taken by the Allied forces against the evil of the Axis powers. In contrast with later wars, which might be seen as morally ambiguous or futile, World War II was and is thought of as "the good war." In this study, I explore and express how The National D-Day Museum encourages exploration and expression on the part of the visitor, using Gregory Ulmers concept and practice of mystory to analyze the museum as a mystory and also as encouraging mystory praxis on the part of the visitor. While the purpose for encouraging such a process may be to conserve the stated values of the museum and while that indeed may occur, it is my theory that the process functions in a more significant way than simply realizing the pre-determined intent. In brief, a heuristic experience becomes more important than a hermeneutic one. In this way, the museum prompts performative agency on the part of the visitors.