Jason Edward Black examines the ways the US government's rhetoric and American Indian responses contributed to the policies of Native-US relations throughout the nineteenth century's removal and allotment eras. Black shows how these discourses together constructed the perception of the US government and of American Indian communities. Such interactions--though certainly not equal--illustrated the hybrid nature of Native-US rhetoric in the nineteenth century. Both governmental, colonizing discourse and indigenous, decolonizing discourse shaped arguments, constructions of identity, and rhetoric in the colonial relationship. American Indians and the Rhetoric of Removal and Allotment demonstrates how American Indians decolonized dominant rhetoric through impeding removal and allotment policies. By turning around the US government's narrative and inventing their own tactics, American Indian communities helped restyle their own identities as well as the government's. During the first third of the twentieth century, American Indians lobbied for the successful passage of the Indian Citizenship Act of 1924 and the Indian New Deal of 1934, changing the relationship once again. In the end, Native communities were granted increased rhetorical power through decolonization, though the US government retained an undeniable colonial influence through its territorial management of Natives. The Indian Citizenship Act and the Indian New Deal--as the conclusion of this book indicates--are emblematic of the prevalence of the duality of US citizenship that fused American Indians to the nation, yet segregated them on reservations. This duality of inclusion and exclusion grew incrementally and persists now, as a lasting effect of nineteenth-century Native-US rhetorical relations.

As survivors of genocide, mnemonicide, colonization, and forced assimilation, American Indians face a unique set of rhetorical exigencies in US public culture. Decolonizing Native American Rhetoric brings together critical essays on the cultural and political rhetoric of American indigenous communities, including essays on the politics of public memory, culture and identity controversies, stereotypes and caricatures, mascotting, cinematic representations, and resistance movements and environmental justice. This volume brings together recognized scholars and emerging voices in a series of critical projects that question the intersections of civic identity, including how American indigenous rhetoric is complicated by or made more dynamic when refracted through the lens of gender, race, class, and national identity. The authors assembled in this project employ a variety of rhetorical methods, theories, and texts committed to the larger academic movement toward the decolonization of Western scholarship. This project illustrates the invaluable contributions of American Indian voices and perspectives to the study of rhetoric and political communication.

Harvey Milk was one of the first openly and politically gay public officials in the United States, and his remarkable activism put him at the very heart of a pivotal civil rights movement reshaping America in the 1970s. "An Archive of Hope" is Milk in his own words, bringing together in one volume a substantial collection of his speeches, columns, editorials, political campaign materials, open letters, and press releases, culled from public archives, newspapers, and personal collections. The volume opens with a foreword from Milk's friend, political advisor, and speech writer Frank Robinson, who remembers the man who "started as a Goldwater Republican and ended his life as the last of the store front politicians" who aimed to "give 'em hope" in his speeches. An illuminating introduction traces GLBTQ politics in San Francisco, situates Milk within that context, and elaborates the significance of his discourse and memories both to 1970s-era gay rights efforts and contemporary GLBTQ worldmaking.

As survivors of genocide, mnemonicide, colonization, and forced assimilation, American Indians face a unique set of rhetorical exigencies in US public culture. Decolonizing Native American Rhetoric brings together critical essays on the cultural and political rhetoric of American indigenous communities, including essays on the politics of public memory, culture and identity controversies, stereotypes and caricatures, mascotting, cinematic representations, and resistance movements and environmental justice. This volume brings together recognized scholars and emerging voices in a series of critical projects that question the intersections of civic identity, including how American indigenous rhetoric is complicated by or made more dynamic when refracted through the lens of gender, race, class, and national identity. The authors assembled in this project employ a variety of rhetorical methods, theories, and texts committed to the larger academic movement toward the decolonization of Western scholarship. This project illustrates the invaluable contributions of American Indian voices and perspectives to the study of rhetoric and political communication.

A collection of essays providing insights into new directions in rhetorical history Kathleen J. Turner's 1998 multicontributor volume Doing Rhetorical History: Concepts and Cases quickly became a foundational text in the field, and the studies in the book have served as an important roadmap for scholars undertaking such scholarship. In the decades since its publication, developments in rhetorical-historical research, engaged scholarship, and academic interventionism have changed the practice of rhetoric history tremendously. To address this shift, Turner and Jason Edward Black have edited a much-anticipated follow-up volume: Reframing Rhetorical History: Cases, Theories, and Methodologies, which reassesses both history as rhetoric and rhetorical history as practice. This new book attends to a number of topics that have become not just hot-button issues in rhetorical scholarship but have entrenched themselves as anchors within the field. These include digital rhetoric, public memory, race and ethnicity, gender dynamics and sexualities, health and well-being, transnationalism and globalization, social justice, archival methods and politics, and colonialism and decoloniality. The sixteen essays are divided into four major parts: "Digital Humanities and Culture" introduces methods and cases using twenty-first century technologies; "Identities, Cultures, and Archives" addresses race and gender within the contexts of critical race theory, gendered health rhetoric, race-based public memory, and class/sectionalism; "Approaches to Nationalism and Transnationalism" explores ideologies related to US and international cultures; and "Metahistories and Pedagogies" explores creative ways to approach the frame of metarhetorical history given what the field has learned since the publication of Doing Rhetorical History. CONTRIBUTORS Andrew D. Barnes / Jason Edward Black / Bryan Crable / Adrienne E. Hacker Daniels / Matthew deTar / Margaret Franz / Joe Edward Hatfield / J. Michael Hogan / Andre E. Johnson / Madison A. Krall / Melody Lehn / Lisbeth A. Lipari / Chandra A. Maldonado / Roseann M. Mandziuk / Christina L. Moss / Christopher J. Oldenburg / Sean Patrick O'Rourke / Daniel P. Overton / Shawn J. Parry-Giles / Philip Perdue / Kathleen J. Turner

Harvey Milk was one of the first openly and politically gay public officials in the United States, and his remarkable activism put him at the very heart of a pivotal civil rights movement reshaping America in the 1970s. "An Archive of Hope" is Milk in his own words, bringing together in one volume a substantial collection of his speeches, columns, editorials, political campaign materials, open letters, and press releases, culled from public archives, newspapers, and personal collections. The volume opens with a foreword from Milk's friend, political advisor, and speech writer Frank Robinson, who remembers the man who "started as a Goldwater Republican and ended his life as the last of the store front politicians" who aimed to "give 'em hope" in his speeches. An illuminating introduction traces GLBTQ politics in San Francisco, situates Milk within that context, and elaborates the significance of his discourse and memories both to 1970s-era gay rights efforts and contemporary GLBTQ worldmaking.

Six classic movies starring Margaret Lockwood. 'The Wicked Lady' (1945) is set during the reign of King Charles II. Lockwood stars as Lady Skelton, an aristocrat who attempts to relieve the tedium of her day-to-day life by secretly acting as a highway robber. Lady Skelton soon finds herself caught up in a tangled web of romance, danger, and jealousy. In 'Love Story' (1944), Lissa (Lockwood) discovers she only has a short time to live, so travels to Cornwall for a final fling. While there, she falls in love with young mineral prospector, Kit (Stewart Granger). However, the course of true love does not run smoothly. In 'Bank Holiday' (1938), a group of people set off on an August bank holiday, including a raucous Cockney family, a would-be beauty queen, and two young lovers - whose relationship starts to come apart when one has to deal with a bereavement at the hospital where she works. In 'Give Us the Moon' (1944), a young man, Sascha (Vic Oliver), joins a group called 'The Elephants' whose principle is to abide by a complete disregard for work. However chaos ensues when the group decides to help run the hotel owned by Sascha's father. In 'Highly Dangerous' (1950), when British Intelligence discovers that an Iron Curtain country is developing insects as weapons, they dispatch entomologist Frances Gray (Lockwood) to get into the country and collect specimens. However her cover is almost immediately blown on her arrival and her contact is murdered. Finally, in 'The Lady Vanishes' (1938), when the elderly Miss Froy (Dame May Whitty) goes missing on a train bound for England, her friend Iris Henderson (Lockwood) sets out to find her. However, Iris' attempts are immediately frustrated by her fellow passengers, who question whether Miss Froy ever even existed. Only music scholar Gilbert Redman (Michael Redgrave) is prepared to believe Iris, and together they set about getting to the bottom of the mystery.

The issue of Native American mascots in sports raises passions but also a raft of often-unasked questions. Which voices get a hearing in an argument? What meanings do we ascribe to mascots? Who do these Indians and warriors really represent? Andrew C. Billings and Jason Edward Black go beyond the media bluster to reassess the mascot controversy. Their multi-dimensional study delves into the textual, visual, and ritualistic and performative aspects of sports mascots. Their original research, meanwhile, surveys sports fans themselves on their thoughts when a specific mascot faces censure. The result is a book that merges critical-cultural analysis with qualitative data to offer an innovative approach to understanding the camps and fault lines on each side of the issue, the stakes in mascot debates, whether common ground can exist and, if so, how we might find it.

This edited volume fills a void in the literature concerning the purpose, practice, and pedagogy associated with performing rhetorical criticism. Literature regarding these issues-predominantly purpose-exists primarily as scattered journal articles and as sections within chapters of textbooks on rhetorical criticism. This book brings together 15 established rhetorical critics, each of whom offers well thought out and argued opinion pieces that stress the more personal nature of criticism. The purpose of this book is to serve as a disciplinary resource, and as a teaching and learning aid. Accessibility across areas of expertise and experience is stressed in this book. Critics range from junior faculty to emeritus, and represent a broad spectrum of views on criticism. In this sense the book offers a snapshot of the views of a wide swath of successfully practicing, contemporary rhetorical critics.

With Special Reference To J. H. Weissenbruch And Illustrations From Works Of His In Canada.

With Special Reference To J. H. Weissenbruch And Illustrations From Works Of His In Canada.

World War Two propaganda drama combining dramatised scenes with real newsreel footage. Father and son newsreel reporters Will and Steve Ferguson (Will Fyffe and Anthony Hulme) go in separate directions when Hitler's invasion of Czechoslovakia brings the threat of war ever closer. Will takes the 'shadow over Europe' angle, while Steve covers the sinking of the German battleship Graf Spee by British ships at the Battle of the River Plate.

The issue of Native American mascots in sports raises passions but also a raft of often-unasked questions. Which voices get a hearing in an argument? What meanings do we ascribe to mascots? Who do these Indians and warriors really represent? Andrew C. Billings and Jason Edward Black go beyond the media bluster to reassess the mascot controversy. Their multi-dimensional study delves into the textual, visual, and ritualistic and performative aspects of sports mascots. Their original research, meanwhile, surveys sports fans themselves on their thoughts when a specific mascot faces censure. The result is a book that merges critical-cultural analysis with qualitative data to offer an innovative approach to understanding the camps and fault lines on each side of the issue, the stakes in mascot debates, whether common ground can exist and, if so, how we might find it.

Bringing together the expertise of rhetoricians in English and communication as well as media studies scholars, Arguments about Animal Ethics delves into the rhetorical and discursive practices of participants in controversies over the use of nonhuman animals for meat, entertainment, fur, and vivisection. Both sides of the debate are carefully analyzed, as the contributors examine how stakeholders persuade or fail to persuade audiences about the ethics of animal rights or the value of using animals. The essays in this volume cover a wide range of topics, such as the campaigns waged by People for the Ethical Treatment of Animals (including the sexy vegetarian and nude campaigns), greyhound activists, the Corolla Wild Horse Fund, food manufacturers, and the biomedical research industry, as well as communication across the human-nonhuman animal boundary and the failure of the animal rights movement to protest research into genetically modifying living beings. Arguments about Animal Ethics' insightful analysis of the animal rights movement will appeal to communication scholars, as well as those interested in social change.

Six classic Arthur Askey comedies. 'Back Room Boy' (1942) follows the antics of Askey and a timid meterologist who are packed off to an Orkney Island lighthouse. After a bit of mucking about they go off hot on the trail of a band of Nazi spies. 'Band Waggon' (1940) is a spin-off movie from Askey's popular BBC radio programme of the same name. After being evicted from Broadcasting House, Arthur and Richard 'Stinker' Murdoch move to a castle where they stumble upon television equipment which they use to put on a show. The show is of course the ideal vehicle for the variety acts from the radio show. In 'Bees in Paradise' (1944), Askey plays a pilot who bales out over Paradise Island, not knowing that he is about to land in a bee-worshipping colony of women and that he is about to become a drone for the queen bee. When he finds out that, as custom demands, he is due to be sacrificed two months after the honeymoon, he soon starts thinking about escape. The women of course have other ideas. In 'King Arthur Was a Gentleman' (1942), Askey is a newly recruited soldier who finds himself stationed in King Arthur County. Naturally when he unexpectedly chances upon a sword he is convinced it belonged to Arthur and that now he is indestructible. In 'Miss London Ltd.' (1943), Askey stars as a man trying to save his flagging escort agency. A new partner suggests getting some new girls in, just in time for the soldiers' leave. The film features English singing favourite of the 1940s, Anne Shelton. In 'I Thank You' (1941), the perils, humiliations and humour of trying to run a second-rate theatrical company are further compounded when financial aid, given by the former famous music-hall star Lady Randall (Lily Morris), is withdrawn. Not to be defeated, the stars decide the show must go on and devise a plan to persuade her to reinvest.