Master of Arts / Department of Communication Studies, Theatre, and Dance / Timothy R. Steffensmeier / The 2008 presidential campaign controversy surrounding Rev. Jeremiah Wright’s sermons had the potential to derail Barack Obama’s candidacy. At the heart of the controversy was race, specifically Whiteness. Obama’s speech “A More Perfect Union” is perhaps one of the most significant political speeches addressing race to date, and warrants analysis. However, Barry Brummett’s book Rhetorical Dimensions of Popular Culture (1991) argues the critic should not be limited to discrete traditional texts, rather should be able to break outside such traditional speaker-focused boundaries. Brummett’s mosaic model allows an exploration of the intersection between popular and political rhetoric of Obama and The Daily Show. I will argue from the intersection we see the emergence of the comic frame as a homology that links the disparate texts of Obama and TDS. I will argue the reason the comic frame emerges from the texts is because there is a societal mandate for the comic frame. Thus, I will ultimately argue the mandate for the comic frame can be better understood as a social movement. However, it is a movement comprised of numerous individual movements, and warrants a new term: meta-movement. Obama and TDS are not leaders of this meta-movement, but instead should be seen as contributors. Brummett urges the critic to consider “the political or ideological interests served by ordering a rhetorical transaction in a certain way” (1991, p. 98). I will argue constructing the rhetoric of Obama and TDS with the comic frame serves the ideological interests of those who are fighting for social justice and working to subvert Whiteness. Thus, I have named the meta-movement to which Obama and TDS contribute a critical optimist movement, because the comic frame provides the tools to be critical of hegemony while ultimately reinforcing the optimistic assumption of the comic frame: all humans are ultimately both flawed and good.

Jon Stewart, the anchor and purveyor of “fake news,” has catapulted television's The Daily Show into prominence. The show functions as both a source of political humor and a vehicle for political commentary. This thesis explores how the program visually and rhetorically problematizes the hegemonic model of traditional television news, and how it tips the balance between what is considered serious news and what has become cliché about the broadcast industry.

I analyze comedian Stephen Colbert's performances as the bloviating "fake" pundit, "Stephen Colbert." Colbert's work reflects the progression of personality-driven media and performance-driven society. His frequent shifts and blending of characters – from actor and entertainer to pundit and politician – call attention to the similarly character-driven nature of "real" figures in politics and media. Using Kenneth Burke's theory of tragic and comic frames of acceptance, I analyze three sets of Colbert's performances – hosting The Colbert Report, speaking at the White House Correspondents' Association dinner, and running for president – as well as the conventional situations and discourses he complicates. I argue that Colbert's comic critique provides perspective by incongruity about the processes of production, mediation, and persuasion in the business of news punditry – and the literal staging of politics performed as entertainment.