English 587: Special Topics in Rhetoric & CompositionVisual RhetoricVisual Rhetoric

Dr. Marguerite Helmers, instructorRadford Hall . Room 226 . 424-0916, office

helmers@uwosh.edu, www.english.uwosh.edu/helmersEnglish Department, www.english.uwosh.edu

Office Hours Tuesday 1:00-3:00pm, Thursday 10:30-1All other times by appointment. I am available after class to answer questions.

Through readings in a variety of disciplines and through analyses of many different types of images, we will explore some of the ways in which visual information and design are used to influence viewers' opinions, beliefs, attitudes, and behaviors (the art of rhetoric).

We will explore questions such as the following: How are pictures perceived and interpreted? How do cultural and social contexts influence viewers' responses to images? Why are images so persuasive? How do images and written text work together to influence readers/viewers?

Besides studying representational images such as advertisements and news photography, we will also explore the visual rhetoric embodied within designed objects and texts. We will analyze specific strategies used by visual artists and designers to manipulate viewers' responses. Finally, we will discuss several of the culturally-determined aspects of visual rhetoric, including the ways in which advertisers and other persuaders use iconic images to trigger traditional and contemporary American values.

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What is Visual Rhetoric?Rhetoric is defined as the art of persuasion. It is an ancient art dating to 400BCE in Athens and Rome. By 700CE, rhetoric was one of three arts of language studied as part of the trivium: grammar, rhetoric, dialectic. Today, the study of rhetoric includes oral, written, and visual modes of communication. Probably all humans practice rhetoric as they make demands and requests in love, war, and daily life.

Aristotle defined two essential aspects of rhetoric: A) Modes of Proof (the special techniques that persuade us: ethos, pathos, logos) and B) Understanding Audience. The study of rhetoric can also involve poetics, the study of literary language. It can also focus on figures of speech, such as varieties of metaphor.

Visual rhetoric is one of the newest areas of inquiry for rhetoricians. It is related to the study of visual culture and the acquisition of visual literacy. As art historian James Elkins points out, visual culture studies now appear in many departments of the university: political science, communications, film studies, art, art history, and English. At UW Oshkosh, rhetoric (as public speaking) is taught in Communications; rhetoric (as multimedia suasion) is taught in Radio, TV, Film; and rhetoric (as literary practice and visual arts) is taught in English. English is interested in the relationship between the written word and the visual image, between rhetoric and poetics.

LLEARNEARN M MOREORE A ABOUTBOUT R RHETORICHETORIC

Rhetoric (from Wikipedia)http://en.wikipedia.org/wiki/Rhetor

Visual Rhetoric (from Wikipedia)http://en.wikipedia.org/wiki/Visual_rhetoric

Silva Rhetoricaehttp://humanities.byu.edu/rhetoric/silva.htm

Book Purchases / Required Readings The Elements of Visual Analysis, Marguerite Helmers Understanding Comics, Scott McCloud Maus I and II, Art Spiegelman Articles on E Reserve and D2LWriting Assignments

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Teaching a Book. 15%. From the bibliographies in any of the works we read—and through consultation with me—select a book-length work of rhetoric or art theory to read and summarize. Present the findings: a) in a 1000 word summary review and b) orally to the class in a teaching form.

Annotated Bibliography & Cover Essay. 20%. The annotated bibliography can be complied throughout the semester. Ultimately, you should create a list of 5-7 significant works that contribute to the study of visual rhetoric. (Make sure you read them.) The bibliography contains MLA format and 50 word summaries of each work. The Cover Essay is approximately 500-750 words in length and describes how these works fit together to make a statement about the study of visual imagery—or to contradict each other. The bibliography will: a) be presented to the class orally, and b) contribute to the Final Visual Research Project.

First Essay: Visual Persuasion. 20% (This essay described in The Elements of Visual Analysis, page 22). Length: approx.1250 words, plus illustrations.

Second Essay: Critical Viewing. 25%. (This essay is described in The Elements of Visual Analysis, page 56 / “In Focus”). Length: approx.1500 words, plus illustrations. Some research required into the history and critical reception of your image.

Discussion Leaders. 15%. Prepare summary, questions, and interactive examples for our class, based on your assigned reading. This includes also posting a question to D2L after your talk so that people may continue their thoughts.

Final Visual Research Project. 30%. The purpose of the research paper is to synthesize diverse points of view into a coherent statement. Research asks you to manage, interpret, and validate information; to connect ideas; and to formulate and defend your own views. Therefore, it is critical that you work with databases of information to enhance your information literacy.

There are several components to this final Visual Research Project; some are graded separately:

o Written and Illustrated Analytical Text, based on an image or series of images of your own choice. This must include research and must involve a critical position on the image. The text should be approximately 3750 words. 20%

o Interactive Presentation: A visual essay in which you present a series of images related to your theme and ask us to think about what they mean. Or a questioning session in which we all analyze your image. 10%

Peer-reviewed Sources:

Derive from scholarly journals. Your peer-reviewed sources must be substantial (no one page pieces). Pamphlets and class notes do not count toward your bibliography.

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Interviews do not count toward your bibliography. Internet sources (.net, .com, and .org) do not count.

This assignment must be completed individually, although you may seek assistance from the librarians and the Writing Center.

Grading: Your researched written work is graded on the extent to which you addressed the assignment, ideas, organization, use of grammar, and management of sources.

FoodI have been a student! I understand that sometimes you are tired and need a coffee and a candy bar. Such light food is fine for class; however, I prefer that you do not bring what I call “disruptive food” to class: pizza (unless I order it), bagels and cream cheese, crackling bags and papers, sub sandwiches.

AttendanceI expect you to attend all class sessions. If you are unable to attend, I ask that you explain to me why you will not be in class. For medical absences, please supply a dated, signed excuse from a doctor. After 3 missed hours of class, your final grade will be lowered on a percentage basis: number of class hours missed divided by 42 class hours per semester (and this will include all absences). Please remember that, if you have the sniffles or you didn’t do the reading or your hair got stuck in your electric dryer and you miss class three times because of this—and then your car breaks down or you have the stomach flu and you miss class two more times because of it, that you will be registered as having 5 absences.

Late PapersAll assignments are due in paper form at the beginning of the class period (unless otherwise specified). Please be responsible for delivering your own work to me on time. In exceptional circumstances, such as documented illness, I will accept a late paper.

Late PersonsWhile there are no bells in college, class begins at the time listed in the timetable. You may be late once due to weather; however, repeatedly walking into class late will affect your final grade: it is not constructive, it is disrespectful, and it interferes with students' ability to learn in a conducive and positive environment. Announcements, such as changes to the schedule, clarification of essay assignments, and announcements of English Department and campus events, are made in the first-10 minutes of class. Missing these will impair your ability to succeed.

Plagiarism

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Plagiarism is a punishable offence, covered by the university rules. I can tell when your writing is not your own and the university now subscribes to Turnitin, which is an authentication tool for all essays. In addition, all essays must be original, which means that, even if you work with someone in class, you should ensure that you turn in individual writing and research. Even duplicated sentences between essays is considered an infringement of the academic honesty codes. We will discuss writing and plagiarism in this class. In the meantime, if you have any doubts about how to properly cite research, talk to me before you write.

Writing CenterThe Writing Center will help you conceptualize your essays (for this class and others). The Writing Center is not a proofreading or editing service. All Writing Center services are free, but you need to schedule an appointment. The Writing Center is located in the basement of Radford Hall. The phone number is 424-1152; you may also email them at wcenter@uwosh.edu.

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Daily SyllabusSeptember 6: Introduction

September 11: Visual Rhetoric, Visual Literacy, Visual CultureWhat are you looking at?

Read page 5 in The Elements of Visual Analysis and complete the Freewriting assignment. Bring your image to class.

Hill and Helmers, “Introduction” to Defining Visual Rhetorics (Reserve & E Reserve)Roland Barthes, "The Rhetoric of the Image" (E Reserve)

September 13Walker and Chaplin, “Visual Culture as a Field of Study” (E Reserve)Walker and Chaplin, “Visual Literacy and Visual Poetics” (E Reserve)

September 18Helmers, Chapter 1, The Elements of Visual AnalysisWilliam Cronon, "A Place for Stories: Nature, History, and Narrative." Journal of American History 78.4 (March 1992): JSTOR

Discussion Group A: Cronon

September 20: ReviewAnalyzing Images (D2L)Hanno Ehses, “Representing Macbeth” (E Reserve)

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September 25: Readings in Visual Culture 1: AdvertisingWilliam M. O'Barr, “The Interpretation of Advertisements”: Project MUSEDiane Hope, “Gendered Advertisements” (from Defining Visual Rhetorics) (Reserve & E Reserve)

Discussion Group B: Hope

September 27 Marita Sturken, “Consumer Culture and the Manufacturing of Desire” (E Reserve)Thomas Wheeler, “Cosmetic Retouching” (E Reserve)

October 2Helmers, Chapter 2, The Elements of Visual Analysis First Essay: Visual Persuasion due

October 4: WarKevin Robins, “Sights of War” (E Reserve)Barbie Zelizer, “Remembering to Forget” (E Reserve)

Discussion Groups C & D: Robins and Zelizer

October 9: Place & LandscapeHelmers, Chapter 3, The Elements of Visual AnalysisAnne Spirn, “The Language of Landscape” (E Reserve)

October 11Elizabeth Helsinger, “Turner and the Representation of England” (E Reserve)Joel Snyder, “Territorial Photography” (E Reserve)Bridgette Bailey, “The Protected Wilderness in American Iconology” (E Reserve)

Discussion Group E & F: Helsinger and Snyder Graduate Student Presentations

October 16: PeopleGallagher & Zagacki, “Visibility and Rhetoric: The Power of Visual Images in Norman Rockwell’s Depictions of Civil, Rights” (D2L)Griselda Pollock, “Feminisms / Foucault” (E Reserve)

Discussion Group G & H: Gallagher / Zagacki and Pollock

October 18Ella Shohat, “Disorienting Cleopatra: A Modern Trope of Identity” (D2L) Discussion Group I

October 23: Readings in Visual Culture 2: The GazeLaura Mulvey, “Visual Pleasure and Narrative Cinema” (E Reserve)Sturken, “Spectatorship, Power, and Knowledge” (E Reserve)Strachan and Kendall, “Political Candidates' Convention Films” (Reserve & E Reserve)

Discussion Group J&K: Mulvey, Strachan

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October 25Second Essay: Critical Viewing due.

October 30Understanding Comics Chapter 1, 2

November 1Understanding Comics Chapter 3, 4Whitlock, “Autographics” (D2L)

November 6Understanding Comics Chapter 5, 6Marc Singer, “Black Skins and White Masks” (D2L)

Discussion Group L: Black Skins

November 8Understanding Comics Chapter 7, 8, 9

Graduate Student Presentations

November 13Maus IGraduate Readings Only:

Erin McGlothlin, “Narrative and Time in Maus” (D2L)Andreas Huyssen, “Of Mice and Mimesis” (D2L)

November 15 Marguerite Helmers in NYC. Makeup screening of comics-based film TBD.

November 20Maus I

November 22: ThanksgivingEnjoy your icons!

November 27Maus II

November 29: Critical Perspectives on MausJames Young, “The Holocaust as Vicarious Past.” (D2L) Michael Levine, “Necessary Stains” (D2L)

December 4-13Visual Essay Presentations, Papers Due!

This syllabus produced August 22, 2007. Dates subject to change.

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