Undertakes a wide-ranging examination of the US-Mexico border as it functions in the rhetorical production of civic unity in the United States
A “border” is a powerful and versatile concept, variously invoked as the delineation of geographical territories, as a judicial marker of citizenship, and as an ideological trope for defining inclusion and exclusion. It has implications for both the empowerment and subjugation of any given populace. Both real and imagined, the border separates a zone of physical and symbolic exchange whose geographical, political, economic, and cultural interactions bear profoundly on popular understandings and experiences of citizenship and identity.
The border’s rhetorical significance is nowhere more apparent, nor its effects more concentrated, than on the frontier between the United States and Mexico. Often understood as an unruly boundary in dire need of containment from the ravages of criminals, illegal aliens, and other undesirable threats to the national body, this geopolitical locus exemplifies how normative constructions of “proper”; border relations reinforce definitions of US citizenship, which in turn can lead to anxiety, unrest, and violence centered around the struggle to define what it means to be a member of a national political community.
Critical studies of the range of King’s public discourse as forms of sermonic rhetoric
The nine essays in this volume offer critical studies of the range of King’s public discourse as forms of sermonic rhetoric. They focus on five diverse and relative short examples from King’s body of work: “Death of Evil on the Seashore,” “Letter from Birmingham Jail,” “I Have a Dream,” “A Time to Break Silence,” and “I’ve Been to the Mountaintop.”
Taken collectively, these five works span both the duration of King’s career as a public advocate but also represent the broad scope of his efforts to craft and project a persuasive vision a beloved community that persists through time.
In No Caption Needed, Robert Hariman and John Louis Lucaites provide the definitive study of the iconic photograph as a dynamic form of public art. Their critical analyses of nine individual icons explore the photographs themselves and their subsequent circulation through an astonishing array of media, including stamps, posters, billboards, editorial cartoons, TV shows, Web pages, tattoos, and more. Iconic images are revealed as models of visual eloquence, signposts for collective memory, means of persuasion across the political spectrum, and a crucial resource for critical reflection.
Arguing against the conventional belief that visual images short-circuit rational deliberation and radical critique, Hariman and Lucaites make a bold case for the value of visual imagery in a liberal-democratic society. No Caption Needed is a compelling demonstration of photojournalism’s vital contribution to public life.
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