This project is an archival case study of the multimedia artist and writer David Wojnarowicz. I discuss Wojnarowicz's legacy as a queer activist and public intellectual to explore the potential of his posthumous rhetorical agency. I define "posthumous rhetorical agency" as a process enacted by the living to facilitate the participation of the deceased in public life. I emphasize that developing a theory of posthumous rhetorical agency can fuel the "momentum of the archival turn" while also deepening a "commitment to the queer turn" in rhetorical studies (Morris and Rawson; Crichton). I establish that Wojnarowicz's archive possesses the ability to reach into the future with remarkable velocity to contribute to his posthumous agency because he drew on extant queer kinship networks and engaged multiple mediums as a visual artist, writer, musician, performance artist, and filmmaker. I extend Avery Gordon's position that haunting differs from trauma because haunting produces a "something-to-be-done" quality, which leads to an engagement with the present and a desire "to reveal and learn from subjugated knowledge." I argue that Wojnarowicz's legacy has a "something-to-be-done" quality about it. His legacy stands as an indictment of a nation lulled into apathetic indifference and cowed into fear of social difference: at a national level when the AIDS epidemic began, politicians and corporations were inexcusably slow to respond because the disease was assumed to infect only gay men and other "high risk" populations. Thus, in understanding Wojnarowicz's suffering - as an individual and, to take this line of argument further, as part of a collective of people with AIDS who died due to the US government's neglect of a public health crisis from which the "general public" was assumed to be safe - one can conceive of his posthumous legacy as a positive and needful presence that calls attention to the value of integrating a partially erased or forgotten history more fully into the nation's history. I conclude that a viable theory of posthumous rhetorical agency must attend to issues of how to responsibly and justly represent the work of those who have been systematically excluded, censored, or erased from the historical record.

This study analyzes visual artifacts from three case studies, Hetch Hetchy Valley, Echo Park, and Glen Canyon, in order to contribute to scholarship devoted to environmental visual rhetoric. Through these studies, I address connections between aesthetics and environmental ethics and challenge scholarship that argues mainstream preservationist perspectives have adhered to an anthropocentric ideological paradigm. Grounding my argument in philosopher Arnold Berleant's notion of participatory aesthetics and deploying social semiotics and media analysis methodologies, I propose that two particular aesthetic grammars have been at use in mainstream environmental rhetorics, that which I call the wilderness sublime and the wilderness interactive. Present in the late 19th and early 20th centuries, and well documented in existing scholarship, the aesthetic of the wilderness sublime has operated through strict dichotomies between nature and culture that promote reductive views of human relationships with nature. Conversely, I argue that the aesthetic of the wilderness interactive, discoverable in artifacts from the mid-20th century to today, has worked to resist these dichotomies through the use of participatory elements that feature humans and nature in what Berleant calls a "relationship of mutual influence," falling within a more ecocentric ideological view. Through my analysis, I extend Berleant's theoretical application from photography to websites to argue that web-based rhetorics contain distinct potential for the realization of participatory features. In particular, I focus on the aesthetic, technological, social, archival, subjective, and epistemological dimensions proposed by Melinda Turnley to discuss dialogic features of websites that can work to engage diverse stakeholders. Through my findings, I offer a visual analysis heuristic that can be used to discover participatory aesthetics within visual artifacts and resist dualistic views of the environment. Likewise, I present a user analysis heuristic that can help identify targeted stakeholders and recognize participatory aesthetics within websites. Ultimately, this study answers the call of environmental aesthetics to address the realization of perceptual norms that offer more ethical conceptions of human relationships with nature, and it extends this focus into the digital environment to discuss the ability of web design and aesthetics to promote generative stakeholder dialogue in environmental protection and restoration.

This dissertation investigates Chinese women's rhetorical practices in the early twentieth century. Tracing the formation and development of a new rhetoric in China, I examine women's writings that were denigrated in the May Fourth period. I argue that as an important part of the new rhetoric, women's texts explored women's issues and created the modern self in the May Fourth period by critiquing a patriarchal tradition that excluded women's experiences from its articulation.I begin by challenging the assumptions that rhetoric is a Western male phenomenon. Situating my study in the area of comparative rhetoric, I critique the previous scholarship in the field and delineate the research methodologies used in this dissertation. In Chapter 2 I locate women's rhetorical practices within the specific social and historical contexts of the May Fourth period. I contend that the May Fourth women's literary texts are rhetorical, considering the different conception of rhetoric in the Chinese rhetorical tradition as well as the social impact these texts created at that historical juncture. In Chapter 3 I extrapolate Lu Yin's feminist rhetorical theory and practice from her sanwen (essays) and fiction. I argue that by emphasizing tongqing (sympathy) in her literary theory, Lu Yin's discourse offers an example of how gendered and culturally specific rhetorical concepts and strategies influence the reader and exert social changes. Chapter 4 provides a case study of Bing Xin, another well-known woman writer in the May Fourth period. I argue that by advocating a "philosophy of love" throughout her lyrical essays and fiction, Bing Xin injected a distinctive female voice in the male-dominated discourse in which women and children were either belittled or silenced. Bing Xin's view of writing as expressing the writer's individuality as well as her unique feminine prose style transformed this classical genre into a more vigorous rhetorical form. Using my case studies as reference, I conclude by drawing out the implications of Chinese women's rhetorical experiences for the studies of rhetoric and comparative rhetoric. I show how such a cross-cultural study of particular rhetorics can help further our exploration of human rhetorical practices in general.

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