The following is an exploration of the use of epideictic rhetoric strategies in nineteenth-century conduct manuals, Sarah Stickney Ellis’s The Women of England: Their Social Duties and Domestic Habits, and Harriet Martineau’s Household Education. In examining the rhetoric of the conduct manuals, this researcher has identified the audience, the rhetorical situation, the exigence of that situation, and the use of phronisis, areti, and euonia by both authors. Because the rhetoric of the conduct manual has not been discussed in current critical perspectives, this research is a starting point for further study. The different types of rhetorical strategies used by each author are the focal points used to uncover how epideictic rhetoric can be understood beyond the restrictions of funeral orations and ceremonial speeches. The primary critical research used in this project has been that focused on epideictic rhetoric and the conduct manuals themselves.

Aristotle's division of the "species" of rhetoric (deliberative, forensic, and epideictic) has served as a helpful taxonomy in historical accounts of rhetoric, but it has also produced undesirable effects. One such effect is that epideictic rhetoric has been interpreted historically as deficient, unimportant or merely ostentatious, while political or legal discourse retained a favored status in authentic civic life. This analysis argues that such an interpretation reduces contemporary attention to the crucial role that epideixis plays in modern discourse. As often interpreted, epideictic rhetoric contains at its heart a striving toward communal values and utopic ideals. Taking as its province the good/bad, the praiseworthy/derisible, it is a rhetorical form supremely attentive to what counts for audiences, cultures, and subcultures. As such, it has direct entailments for all forms of rhetorical practice, however categorized, for in its essence is not simply a suggestion of timeliness or appropriate context for its delivery, but also method: a focus on identification and affinity is at the heart of epideixis. Taking an expanded definition of epideixis, I argue that Aristotle's classification be read as provisional (that he allowed for and expected overlap with his divisions), and further, that criticism be seen as a form of contemporary epideixis. I claim that contemporary norms are more fractured than in classical times, and that as citizens no longer at the behest of formerly more unified cultural ideals it is through acts of criticism and aesthetic consensus that we often form emergent communities, gathering around objects of appraisal, around that which offers us pleasure (even the popular). I attempt to account for the mechanics of how, as Dave Hickey argues, “beautiful objects reorganize society, sometimes radically" (Invisible Dragon 81). The vectors through which this reorganization occurs are via popular discourse involving “comparisons, advocacy, analysis, and dissent” (Hickey Invisible Dragon 70), be it at the level of the interpersonal or in a more widely-sanctioned public forum such as professional criticism. I hope to show that epideixis is not a moribund rhetorical category, but a key discursive mode and way of forming community in our times.

This dissertation traces the rhetorical history of Virginia Tech's April 16th Memorial from its earliest appearance immediately following the April 16, 2007 shootings up to its present iteration as a permanent memorial on Virginia Tech's campus. Specifically, this study reveals how the April 16th Memorial is a public memory performance that has changed (and continues to change) in its form, function, and significance across time. Based on a data set that includes archival evidence, interview data, and fieldwork, I argue that over the course of its history, the April 16th Memorial has negotiated tensions and fusions between the epideictic and deliberative genres that exist within its bounds. In doing so, the memorial asks audiences to honor and remember the dead while also compelling audiences to deliberate over the social and political issues punctuated by the tragedy. Whereas the epideictic appeals in the memorial aim to reknit the community, the deliberative appeals invite audiences to imagine a better, safer world. By tracing the intersections between these two genres, this study demonstrates how complementary and competing forces in the memorial vie over not only constructions of public memory but also the lessons we are meant to gain from the April 16, 2007 shootings at Virginia Tech. / Doctor of Philosophy / Public memory refers to the shared recollections of history among members of a specific community. Rather than individual memory, public memory is constituted by what communities choose to remember and forget and what gets retold to future generations. Specific artifacts help support the creation of public memory, including archives, museums, monuments, and memorials. Scholars tend to agree that what communities chose to monumentalize in stone often reflects a desire to shape public memory in strategic ways. This dissertation traces the history of the April 16th Memorial at Virginia Tech in order to capture how the commemorative site has influenced (and continues to influence) public memory of the shootings that occurred at Virginia Tech on April 16, 2007. Using archival evidence, interview data, and fieldnotes collected at the site, I argue that the April 16th Memorial asks visitors to honor and remember the dead while also compelling visitors to deliberate over the kinds of action that might prevent school shootings in the future. This study demonstrates how complementary and competing forces in the memorial vie over not only constructions of public memory but also the lessons we are meant to gain from the April 16, 2007 shootings at Virginia Tech.

This dissertation examines American Civil War tourist spaces in order to describe how epideictic rhetoric has distinct spatial functions that affect the identity of tourists. Through an analysis of three Civil War spaces in Virginia--Lexington, Appomattox Court House, and the Museum of the Confederacy--I argue epideictic space is a locus of invention that has the performative power to create community, public memory, and a vision of the future through the movement of bodies in space. Through a consubstantial ethos established between space and audience, epideictic creates kairotic space and time by collapsing past, present, and future in order to create a narrative history with which the community can identify. This study traces rhetoric related to the Confederate flag, slavery, nationalism, and reconciliation through an analysis of the Civil War spaces in which these discourses are embodied. I suggest that creating a productive rhetoric of blame starts through connecting blame, such as remembering slavery, to the materiality of space and through creating narratives of responsibility that connect memory to a vision of the future. / Ph. D.

When a disaster the magnitude of the Deepwater Horizon blowout and oil spill takes place, is it natural for the news media stories, investigative reports, and public deliberation to focus almost exclusively on finding the person or group responsible for such a horrendous scene. Rhetorically speaking, the discourse surrounding the event can be characterized as a reductive form of praise and blame rhetoric (epideixis). However, these efforts, while well-intentioned, are troublesome because searches for the one technical cause and the sole personal culpability are thwarted by the sheer complexity of the ecological, technological, scientific, institutional, and communicative network required for such a disaster to take place. Thus, to demonstrate the insufficiency of extant models of disaster in a variety of fields, which tend to privilege human-centered approaches, Dead Man's Switch: Disaster Rhetorics in a Posthuman Age explores the ontology, technical documentation, and rhetorical theory of disasters through a posthuman lens. To find a more critical approach to understanding the nature of disasters in the twenty-first century, I ask the following questions: How do rhetoricians and technical communicators account more fully for the human and nonhuman forces at work in the precipitation of disaster? How do rhetoricians and technical communicators find an approach to ecological catastrophe that goes beyond the mere "environmentalist rhetoric" characterizing the public response? Through the application of several posthumanist theories, my project develops an approach to disaster that complicates traditional ways of approaching causality and blame. I use accident reports, news media stories, and popular literature as data for this project. By examining these texts, my project has broad implications for technical communication, rhetorical theory, and philosophy of rhetoric.

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This thesis explores the renewal process within the Moderate Party from a postmodern perspective, focusing on epideictic rhetoric and theories of pseudo-events. By analyzing the party's strategic repositioning and communication methods, the study examines how the Moderates reshaped their public image and relationship with the electorate. Utilizing examples from political statements and internal documents, the thesis demonstrates how staged events and media appearances were used to direct public discourse. It also highlights how this renewal work contributed to shaping the party's identity and strategy in an era characterized by the increasing significance of media and image-focused political communication. This study thereby contributes to a deeper understanding of the nature of contemporary political communication and its effects on democratic processes and political engagement.

In releasing the songs "Courtesy of the Red, White and Blue (The Angry American)" and "American Soldier" in the aftermath of September 11, country artist Toby Keith enacts a tradition that has been established in the world of country music since the Civil War, that of producing wartime songs of patriotism. I conducted an organic analysis of both songs as rhetorical acts produced and consumed within a particular rhetorical context. Because country music is fundamentally a discourse that celebrates the attitudes, values and experiences of its audience, I first analyzed these two songs as instances of epideictic rhetoric. As an epideictic rhetor, Keith reinforces the traditional values of the country music audience, uniting them in celebration of the communal identity that renders them a rhetorical community. That shared identity enables Keith to advance a rhetorical vision of a post-September 11 reality, attributing meaning to the events of September 11 and the ensuing conflicts in Afghanistan and Iraq. I use pentadic analysis to illuminate the vision presented in each song, and I utilize both media coverage and the Billboard charts to determine how well this vision "chained out" amongst the country music audience. Lastly, I utilize media coverage to explore the rhetorical context in which these songs were written and consumed. / Master of Arts

abstract: The People's Republic of China's inexorable ascendancy has become an epochal event in international landscape, accentuated by its triple national ceremonies of global significance: 2008 Beijing Olympic Games, 2009 Beijing Military Parade, and 2010 Shanghai World Expo. At a momentous juncture when the PRC endeavored to project a new national identity to the outside world, these ceremonial occasions constitute a high-stake communicative opportunity for the Chinese government and a fruitful set of discursive artifacts for symbolic deconstruction and rhetorical interpretation. To unravel these ceremonial spectacles, a public memory approach, with its versatile potencies indexical of a nation's interpretive system of social meaning, its normative framework of ideological model, and its past-present-future interrelationships, is contextually, conceptually, and analytically diagnostic of a rising China's sociopolitical constellations. Thus employing public memory as a conceptual-methodological matrix, my dissertation focuses on the prominent texts in these ceremonies, excavates their historico-memorial invocation and sociocultural persuasion, and plumbs their discursive agenda, rhetorical operation, and sociopolitical implication. I argue that the Chinese government deliberately and forcefully strove for three interrelated communicative objectives at these three ceremonies--re-imaging, re-asserting, and re-anchoring its national identity as an ancient, emergent superpower. Yet in contemporary Chinese context, its discursive (con)quest to recast its leadership as a historically continuous, culturally orthodox, and ideologically legitimate regime has always been compromised by its mythologized historical representation and hegemonic rhetorical reconfiguration, countervailed by its political and ideological fragility, and contested by domestic and global publics. Besides its contributions to the current conversation on the PRC's ceremonial phenomena, discursive formations, and communicative dynamics, this dissertation further offers its diagnosis and prognostication of this projected leading country in the 21st century. / Dissertation/Thesis / Ph.D. Communication Studies 2012

Este trabalho tem como objetivos a tradução anotada e um estudo a respeito da obra Suasórias de Sêneca, o rétor. A tradução tenta seguir de modo rente o texto original, enquanto as notas procuram informar ao leitor algum acontecimento histórico ou personagens citados por Sêneca ou pelos declamadores. Já o estudo divide-se em três capítulos, o primeiro, procura detalhar algumas questões básicas sobre a declamatio, tendo ainda como subcapítulo um estudo mais aprofundado sobre as fontes desse fenômeno romano; o segundo capítulo versa sobre a forma constituinte da obra, ou seja, as sententiae, diuisiones e colores; o terceiro e último capítulo analisa de perto a relação entre suasória e prosopopeia, suas semelhas e diferenças. / This dissertation has as its aims an annotated translation and a study about the work Suasoriae of Seneca, the elder. The translation attempts to follow closely on the original text, while the notes informes the reader some historical event or characters cited by Seneca or even by the reciters. The study is divided into three chapters, the first attempts to clarify some basic questions about the declamatio, and also has, as its subchapter, a further study on the sources of this Roman phenomenon, the second chapter deals with the constituent form of the work, i.e.the sententiae, diuisiones and colores, the third and final chapter examines closely the relantionship between suasoria and prosopopeia, their resemblances and their differences.