<p> There is little doubt that emerging technologies are changing the way we act, interact, create, and consume. Yet despite increased access to these technologies, consumers of technology too seldom interrogate the politics, subjectivities, and limitations of these technologies and their interfaces. Instead, many consumers approach emerging technologies as objective tools to be consumed, and engage in creative processes uncritically. This disquisition, following the work of Hawisher, Selfe, and Selfe, seeks ways to approach the problem of a "rhetoric of technology" that uncritically praises new technologies by drawing on avant-garde art traditions and object-oriented ontology. I argue that, by following the philosophies and practices of glitch, dirty new media, zaum, dada, circuit-bending, and others, we might approach writing technologies with the intention of critically misusing, manipulating, and revealing to ourselves and audiences the materiality of the media and technologies in use.</p><p> In combination with these avant-garde practices and philosophies, I draw from object-oriented ontology to argue that we, as new media composers, never simply write <i>on</i> or <i>through</i> our technologies, but that we write in collaboration <i>with</i> them, for they are active and agential coauthors even (and especially) despite their status as nonhuman. I argue for an model that not only levels the ontological playing field between humans and nonhumans, but also one that embraces irregularities and "glitches" as essential features of systems and the actors within those systems. Finally, I provide examples of how to perform these models and philosophies, which I call <i>object-oriented art.</i></p>

abstract: "Bringing-before-the-eyes": Visuality and Audience in Greek Rhetoric examines how Greek rhetorical theories are understood through the lens of visuality and the ways in which orators accounted for audience knowledges and expectations in the creation of rhetorical texts and performances. Through a close reading of Greek rhetorical texts from the classical period, I develop three heuristics for analyzing the ways in which rhetoricians invite and encourage visualized images through rhetorical practice. By exploring (1) language cues that orators use to signal visualization, (2) the ways in which shared cultural memories and ideas allow orators to call upon standardized images, and (3) the influence of stylistic choices and audience emotions related to the vividness of rhetorical images, I argue that it is possible to analyze the ways in which classical Greek orators understood and employed visual elements in their rhetorical performances. I then conduct an analysis of the visual aspects of Demosthenes' On the Embassy using these heuristics to demonstrate the ways in which these three aspects of visuality are intertwined and contribute to a greater understanding of the relationship between the verbal and the visual in rhetorical theory. My findings indicate that Greek orators readily identified the influence of visual ways of knowing on rhetorical theory and presented early hypotheses of the ways in which sense perceptions affect social practice. This project complicates the ways in which rhetorical theory is categorized. Rather than considering visual rhetoric as a distinct field from traditional, verbal text-based rhetorical studies, this project explores the ways in which visual and verbal modes of thinking are interconnected in Greek rhetorical theory. By bridging these two areas of rhetorical study and arguing that verbal rhetoric can instantiate internalized, visual phenomena for audiences, the dichotomy of verbal and visual is problematized. By focusing on the rhetorical theory of classical Greece, this project also invites future research into the ways in which dominant, Western historic and contemporary systems of epistemology are influenced by the co-mingling of verbal and visual in classical Greek philosophy and education. / Dissertation/Thesis / Doctoral Dissertation English 2016

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Theorists who have categorized translation as an imperfect and never-ending task have also questioned the legitimacy of this field over the years. It is uncommon for other disciplines to consider translation a topic of study. Except for translation classes in which students discuss in detail the nature of the translators’ tasks and their methodology, professors of other disciplines rarely address the fact that the voice of the translator is an overlooked, yet an important component of any translation. As a consequence, students around the globe read translated works without acknowledging translators’ ethos and their rhetorical situation. The consideration of this voice in those translated texts is mentioned only in passing, if at all. Due to the lack of discussion that relates the disciplines of translation and rhetoric, it is imperative to re/examine and re/frame the current state of the rhetoric of translation and comment on the traditional and historiographical ties that intertwine these two disciplines. In this way I argue that translation, as a discipline, should be considered part of the rhetorical tradition, and a key element within rhetorical education. This relationship between rhetoric and translation is further complemented with the pedagogical application of practical rhetorical and translation tools in the analysis and critical interpretation of selected Western translated texts. The fruition of this goal will be presented through a new approximation to the reading of these very same texts. To this end, I am also introducing a new literacy called Transglobal whose aim is twofold: For one, it aims to decenter preconceived patterns of thought that confine the interpretation of translated texts within the boundaries of mere ideological superstructures, but it is also based upon a pedagogy that is global, transcending all national boundaries. In sum, what I am proposing is that professors of all disciplines engage in a rhetorical and translation dialogue with their students to broaden the understanding and current perception of translated texts.

This dissertation explores how aesthetic claims in scientific arguments help construct scientific ethos through demonstrations of the rhetor's judgment. By examining the works of Josiah Willard Gibbs and Henry Rowland, two prominent nineteenth-century American scientists, through the lens of their formal rhetorical training as students in American universities, this dissertation investigates how aesthetic judgment is enacted in scientific writing and explores the rhetorical history of the terms "simplicity," "brevity," "imagination," and "taste" and their use in scientific arguments. The aesthetic judgment that both scientists demonstrate in their written work reinforced an understanding of scientific ethos. By placing nineteenth-century scientific writing in contact with the rhetorical theories of the time, this dissertation explores the history of aesthetic judgment in rhetoric and its influence on conceptualizations of the faculty of taste. The dissertation illuminates the connections between rhetorical training and the ability to perform appropriate judgment when creating a reliable scientific ethos in writing. Constructing a scientific ethos in writing became increasingly important and complicated during the time of great institutional change in scientific research, which occurred during the second half of the nineteenth century in America. Scientists constructed scientific ethos through demonstrations of aesthetic judgment in order to respond to the exigencies of both institutional pressures and disciplinary expectations. / English

A number of arguments appeared in the late-nineteenth-century United States about “correctness” in language, arguments for and against enforcing a standard of correctness and arguments about what should count as correct in language. Insofar as knowledge about and facility with “correct” linguistic usage could affect one’s standing in the social structure, such knowledge and facility functioned as a form of capital—linguistic capital. This dissertation considers treatments of linguistic capital in a variety of contexts, including verbal criticism, linguistics, composition pedagogy, and novels. The subject of Chapter 1 is verbal criticism, popular writings that quibble over the “correct” meanings of words. Verbal critics’ goals and conclusions, however, were often full of contradictions. My first chapter offers an explanation for these contradictions based on their resonance within late-nineteenth-century capitalism’s social structure. Chapter 2 centers around William Dwight Whitney‘s efforts to establish what he called the “science of language” in America. Whitney’s potentially progressive principles sometimes appear conservative, capable of rationalizing a laissez-faire politics with regard to language and class—a politics this chapter considers in relation to Whitney’s attempt to craft an ethos for the discipline of linguistics. My third chapter examines the dominant composition pedagogy of this period, current-traditional rhetoric, at a time when universities increasingly admitted middle-class students. Chapter 3 considers what types of cultural capital current-traditional pedagogy assumed its students possessed and what effects its assumptions imply. Chapter 4 focuses on William Dean Howells, whose realist novels represented the language of various characters as precisely as possible in an effort to encourage readers to accept speakers of non-prestige dialects. This chapter explores the possibilities and the limits of Howells’s efforts, and what those possibilities and limits imply for any progressive language policy. The Conclusion analyzes the most famous attempt by a professional organization to adopt such a progressive language policy, the Conference on College Composition and Communication’s “Students’ Right to Their Own Language.” Deliberation over this policy deeply divided teachers in the language arts. My conclusion considers why both sides may be right—and wrong—to think their preferred means can achieve what turns out to be an agreed-upon end. / text

Re-Membering Ancient Women: Hypatia of Alexandria and Her Communities is a recovery of Hypatia of Alexandria (355-415 ACE) as a skilled rhetorician and instructor of note who taught in Alexandria, Egypt. This work addresses Hypatia as a missing female figure from the history of rhetoric and follows the work of feminist historiographers in the field of Rhetoric and Composition including Andrea Lunsford, Jan Swearingen, Susan Jarratt, and Cheryl Glenn (among others) who note the exclusion of women from ancient schools of rhetoric, yet assert their participation in rhetorical activities. In its recovery of Hypatia, the work recreates the historical milieu of Roman Alexandria including Alexandria’s ethnically and religiously diverse population. As a woman of Greco-Egyptian decent, Hypatia’s public work was supported by Egyptian, Greek, and Roman legal and social customs that enabled her to lecture in public and private, administer her own school, and advise high-level political leaders. Using feminist and post-modern theories as a lens and fusing disciplines such as Rhetoric and Composition, Classics, History, Philosophy, Communication Studies, Critical Theory, and Women’s Studies, this project demonstrates that although primary texts authored by women are scarce, historians may still recover women and their activities for expanded historical traditions of rhetoric by examining secondary texts. The concept of community is used as a heuristic in order to discover communities in which Hypatia engaged and led to the discovery of women Neoplatonists of the fourth century ACE and Neopythagoreans from the sixth through second centuries BCE. The Neoplatonists and Neopythagoreans usually married only those who shared their belief system; hence, women were commonly educated and participated in their communities to secure the survival of their respective group. Included is a sustained critique of historiographical methods that may allow feminist historiographers to return to the ancient period to conduct much needed further research.

Re-Membering Ancient Women: Hypatia of Alexandria and Her Communities is a recovery of Hypatia of Alexandria (355-415 ACE) as a skilled rhetorician and instructor of note who taught in Alexandria, Egypt. This work addresses Hypatia as a missing female figure from the history of rhetoric and follows the work of feminist historiographers in the field of Rhetoric and Composition including Andrea Lunsford, Jan Swearingen, Susan Jarratt, and Cheryl Glenn (among others) who note the exclusion of women from ancient schools of rhetoric, yet assert their participation in rhetorical activities. In its recovery of Hypatia, the work recreates the historical milieu of Roman Alexandria including Alexandria’s ethnically and religiously diverse population. As a woman of Greco-Egyptian decent, Hypatia’s public work was supported by Egyptian, Greek, and Roman legal and social customs that enabled her to lecture in public and private, administer her own school, and advise high-level political leaders. Using feminist and post-modern theories as a lens and fusing disciplines such as Rhetoric and Composition, Classics, History, Philosophy, Communication Studies, Critical Theory, and Women’s Studies, this project demonstrates that although primary texts authored by women are scarce, historians may still recover women and their activities for expanded historical traditions of rhetoric by examining secondary texts. The concept of community is used as a heuristic in order to discover communities in which Hypatia engaged and led to the discovery of women Neoplatonists of the fourth century ACE and Neopythagoreans from the sixth through second centuries BCE. The Neoplatonists and Neopythagoreans usually married only those who shared their belief system; hence, women were commonly educated and participated in their communities to secure the survival of their respective group. Included is a sustained critique of historiographical methods that may allow feminist historiographers to return to the ancient period to conduct much needed further research.

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Political Rhetoric in Shakespeare's Drama Bc. Anna Malá MA Thesis Abstract This thesis focuses on political rhetoric in William Shakespeare's plays. It approaches History plays, Roman plays, and Tragedies in order to compare whether the rhetoric used differs among the genre in connection to the state system which it presents - Republic or Monarchy, with the intention to describe the difference. The main criteria for this description are the imagery and rhetorical strategies used in specific situation both by the ruler and by some of the subjects concerning the ruler.