COMM 4446/5446:01 Social Protest: Performance and Rhetoric . . . of Gender, Sex, and Sexuality Movements

Fall 2017 2:00-3:15pm Tu/Th Lang 223

last updated September 9, 2017


Instructor: Catherine H. Palczewski, Ph.D. Office: Lang Hall 341
Office hours:
Tuesday: 3:15-4:45pm
Wednesday: 1:00-3:00pm
Thursday: 3:15-4:45pm
No office hours Oct. 25, 26
If these times do not work, feel free to call or email to make an appointment.
Office Phone: 273-2714 Mailbox: Lang Hall 326 e-mail:


This syllabus would not be possible without the assistance of Karen Mitchell, who also teaches this course at UNI. Faculty at UNI and other universities also have shared their ideas, assignments and syllabi, and I thank them for their help: Leah White, Jennifer Potter, Dan Brouwer, Francesca Soans, and Valeria Fabj. This syllabus is better because of them. Professor Frank Leon Roberts's #Formation syllabus was also an essential resource.

Description: Sociologist James M. Jasper explains in The Art of Moral Protest (1997), "No matter who the audience, protest groups appeal to it through rhetorical framing. They try to define issues, appeal to underlying values, link to positive and negative affects and symbols, spread new information and points of view. Not all their messages are purveyed by words. Actions and the choice of tactics send all sorts of signals; they tell an outsider as much about a group as its explicit arguments do. Cultural persuasion also takes place through organizational forms which are themselves a form of tactic" (p. 242). Thus, to study social protest, you should attend to the performance and rhetoric – the words, actions, bodies, and organizational structures – of protest groups.

This course will introduce you to roles rhetoric and performance play in social protest. We will start the semester by focusing on historical and contemporary protest related to sex, gender, and sexuality. The end of the semester will focus on movements selected by the students.

Goals: By the end of the semester you will be able to:

  • Describe the limits and possibilities of collective action.

  • Analyze how protest and counter-protest interact (e.g., explore reactionary protest actions meant to maintain the status quo, pro- and anti-movements, how sustained protest action must respond to arguments against it).

  • Articulate a range of rhetoric and performance theories of protest including carnivalesque or dramatism, and controversy or counterpublic theories.

  • Conduct a study of an act of social protest, employing primary sources in order to develop one's analytic abilities.

Readings: See the eLearning folder for pdfs of the readings. Some readings also are hyperlinked to the syllabus, but to access the database, you need to be logged in to a UNI computer, or log into the Rod Library as a UNI user. Occasional lectures will be presented, but it will always be the students' responsibility to complete the assigned readings prior to class. "Complete" means that you will be able to answer direct questions about the readings and their applications quickly and thoroughly. This means that you should take notes as you read.

General Information: See my website, at This site includes my late policy, the university accommodation policy, the university plagiarism policy, as well as paper format descriptions -- basically Cate's rules for survival. You should really take the time to read this.

Interaction Expectations: Pedagogically, the class will be structured around a discussion format. Lively debate, discussion, and disagreement on issues are encouraged in class. For this to be productive, respect for other people, their opinions, and their experiences is essential. The most productive way to disagree with another is to say, “I disagree with you because…” and explain and justify your position. Although everyone is entitled to her/his opinion, the reality is that some opinions are better supported and more reasonable than other opinions; thus, be able to explain why you hold the opinion you do and why you think your opinion is better supported than another’s. Engage each other in a reasoned exchange of ideas. In other words, present an argument (a claim supported by data, with reasons/warrants as to why that data is relevant to the claim).

Throughout the semester we will encounter a variety of challenging issues relating to gender, sexuality, race, class, etc. The content of this class has the potential to stir up strong emotional reactions. You will encounter ideas and theories that challenge you. Students are asked to follow some guidelines to help maintain a constructive learning environment. Participants in this class must be open to looking at an issue from a variety of perspectives. Further, it is possible that films, readings, images, music, etc. used in this class may be considered “offensive” by some. A student’s decision to stay enrolled in the class is an agreement to approach all course content with a critical academic lens. Above all, participants must treat each other with respect. The most fundamental way to respect class participants is to complete daily readings, listen to others, and ground your own comments in principles of critical thinking. Class discussions should take place within the context of academic inquiry and in the spirit of understanding diverse perspectives and experiences. Do not engage in private conversations, interrupt another student who has the floor, keep cell phones on, or show general signs of disrespect for the course, professor, or other students. Non-course related materials such as newspapers and items from other courses must be stowed away when class begins.

I encourage you to put away your electronic devices. Research has convincingly demonstrated that students retain and learn better when taking notes with pen and paper, not laptops or tablets. Laptops tend to create distractions, induce shallow processing, and result in weaker performance when answering conceptual questions (like those on tests or during discussion). Although you might type more words with the laptop, you lose the chance to synthesize ideas and focus on key concepts.


Three tracks are possible for assignments: A) paper track, B) test track, or C) graduate student track

Track A: Paper track

Assignments are worth a total of 100 points. However, for each assignment you can earn fractions of points (so, you can think of it as a 1000 point scale if it makes you feel better). If you need to figure your letter grade at any point in the semester, simply divide the number of points you have by the number of possible points you could have earned. For your final grade, simply add up all the points for each assignment. Points are noted in brackets. The individual point value of each assignment is noted in brackets [ ] immediately following the assignment title. Simply doing the base requirements of each assignment will earn you a "C" -- this means you have done acceptable work. To earn a "B" you must go beyond the assignment expectations or fulfill them in an above average way. To earn an "A" you must go far beyond the assignment expectations and fulfill the base expectations in an exceptional manner.

Detailed descriptions of all assignments appear on this syllabus. You are free to ask questions in class about the assignments, or contact me outside of class by email or phone. But, please be aware, I will NOT answer any questions about an assignment past the class session before it is due (most assignments are due on Thursday, which means you have until the Tuesday before it is due to ask questions). I recognize that students procrastinate, so, consider this an inducement to begin work early. This means if you have a question, you need to be prepared to ask it in the class session before the paper is due. I will not answer questions after that time.

Assignment Due Date Point worth
1A. Paper 1 (intro paper) September 21 (rough draft due September 12) 5
1B. Paper 2 (initial analysis) November 2 (rough draft due October 24) 10
1C. Paper 3 (Final paper) December 5 (rough draft due November 28) 30
2. Presentation of final paper November 7, 9, 14, 16, 28, 30, December 5 or 7 10
3. Discussion every class session 15
4. Peer editing due September 14, October 26, November 30 10
5. Worksheets due weekly 20 (2 pt ea)

TurnItIn requirement: For papers 1, 2 and 3, students are required to use TurnItIn in order to check they are not plagiarizing. Thus, for an assignment to be considered "turned in", students must have submitted an electronic version to TurnItIn before the assignment's due date and time, and also turn in a paper copy to the professor at the assigned due date and time. I have activated the TurnItIn website in such a way that you are allowed to submit drafts of your paper and receive originality reports. These reports should be used to assist you in making sure you are attributing authorship in an ethical way. The only originality report I will see is the final report on the version of the paper you turn into me. Students can access the TurnItIn website for each assignment via the class's eLearning site. The TurnItIn links for all assignments are located in a folder on the eLearning site. Please understand: using TurnItIn is only the first step in making sure your are abiding by citation guidelines and providing fair attribution. TurnItIn is only one way to check the originality of your work, and just because your work passes the TurnItIn check does not guarantee you have not plagiarized. You are responsible for using style manuals to make sure your citation format is correct and consistent. Given you are expected to have consulted the TurnItIn originality report before you turn your paper into me, there will be ZERO TOLERANCE for any citation or paraphrase errors that result in you plagiarizing (presenting others' words as your own). Even a minor infraction will result in a zero on the assignment and a permanent letter placed in your file. A major infraction will result in an F for the class.

1. Paper: (45 total points, divided into steps) Analysis of an example of social protest. Your paper should provide a detailed description of a social movement or act of social protest and then analyze it using concepts from the course readings. The work you do on the paper will serve as the basis for your presentation about the movement/protest when we discuss them during the last weeks of class.

Assignments center around a progressive paper in three steps. The first paper becomes the introduction for the second and the second becomes the intro and first section of the third. You will need to learn appropriate citation format (APA or MLA), and will be expected to revise and edit your work as the paper progresses.

Even though there is an extensive peer review process built into the class, you still are expected to conscientiously proofread your own work. If a paper has numerous typographical, citation, or grammatical errors, I will return it ungraded and the late clock will start ticking. Incorrect citation format will result in an automatic deduction of at least 25%.

Page limits on all assignments will be rigorously enforced. You should spend time finding ways to write more concisely and clearly. If I find your paper long-winded, and you go over the page limit, I will quit reading. (If however, you are brilliant and keep me captivated, I may not notice). Given the expectations of each of the assignments, you probably will need to use the number of pages required. If, however, you are exceptionally concise, then I may not notice if your paper falls short of the recommended page length.

A bibliography should be turned in with every assignment. It will not count toward your page limit. On the top of the page, indicate the style (APA or MLA) that you think you are using.

Good Essay link: All papers should put into practice the skills and techniques learned in basic writing classes. Here is a link to a general checklist to consult when preparing an essay.

The content of the paper should be an analysis of a social movement or act of social protest we will study during weeks 12, 13, 15, and 16.

For a list of essays about labor, civil rights, feminism, etc., see this link; also consult the selected bibliography at the end of this syllabus. Neither provides an exhaustive list, but they are meant to give you an idea of the range of scholarship available. Regardless of which movement you select, to find studies you should (at a minimum) conduct an exhaustive search of:

  1. Communication & Mass Media Complete
  2. JSTOR
  3. Project Muse
  4. Lexis/Nexis law reviews and newspapers, unless you need articles pre 1980, in which case use New York Times (1851-2010)
  5. Rod Library books/media search or Google books advanced

In particular, you should look for research from the Communication Studies discipline. Examples can be found at this link.


A. Paper 1: Introduction [5 points] (4 pages) Due September 21 (draft due September 12) This paper eventually will serve as the introduction to the final 15 page paper.

This paper should (not in any particular order . . . this is NOT an outline for the paper):

  1. provide a general introduction to the larger social movement: provide information on key agents, the central goal, the general time-line, counter-movements/protests, etc.;
  2. identify the theoretical framework/s that will guide your analysis (see Cox and Foust for a summary of approaches),
  3. IF you select a specific act of protest, situate that act within the larger trajectory of the movement
  4. cite relevant research on the movement/protest,

Remember, this paper will become and introduction, so you do not need to cover everything, but you need to cover enough that the reader understands what your paper will be about.

For the bibliography, (which is worth 2.5 points of the 5 assigned to this paper) I want the following:

A. printouts of the various searches you did in each of the above listed data bases. This means, at a minimum, there should be printouts of 5 searches. However, for most every database, you will want to use multiple search terms.

B. Works cited/references, which includes:

  1. Actual works cited or references for the paper.
  2. Additional sample citations. I want to make sure everyone knows how to do citations forms for typical sources. In addition to the sources you actually use, you need to include bibliographic entries for at least one of each of the following (even if you are not citing it yet):
  • book
  • book chapter
  • newspaper article
  • magazine article
  • scholarly journal article
  • web source
Remember to turn in peer edits along with this paper. This paper will not be considered turned in until all the peer edits of your papers have been turned in as well.

B. Paper 2: Expanded description [10 points] (10 pages) Due November 2 (rough draft due October 24) The introduction to the paper should incorporate a revised version of your first paper. The first section of the paper (2-3 pages, taken from the first paper and developed) should provide a rich description of the larger movement. The second section (2-3 pages, all new) should review relevant theories from the readings that will be applied to your analysis of the text. The third section (3-4 pages, new) should outline your initial analysis of the text you are studying. This last section should identify the type of tactic the text uses (see key terms for possible ideas).Remember to include a works cited/references.

So, the outline should look something like this:

<Introduction> (2-3 pages)

I. Rich description of the movement/protest (6 pages), locating the text in a specific period of the movement (inception, crisis, consummation if relevant)

II. Theoretical concepts to be used in the next paper to analyze the text (1-2 pages): Identify key concepts you think apply to the movement you have selected (e.g., counterpublics, catalytic event, performance, etc.)

Remember to turn in peer edits along with this paper. This paper will not be considered turned in until all the peer edits of your papers have been turned in as well.

C. Final paper: Analysis of performance and rhetoric of social protest [30 points] (15 pages) Due December 5 (rough draft due November 28) The final paper should incorporate and refine all the sections from the second paper. Take the concepts learned in class and apply them to the movement/protest you selected. Analyze how the movement/protest uses rhetoric and performance. Also, remember to include a works cited/references.

Remember to turn in peer edits along with this paper. This paper will not be considered turned in until all the peer edits of your papers have been turned in as well.

2. Presentation on topic of final paper: [10 points] Due November 7, 9, 14, 16, 28, 30, December 5 or 7. During the last weeks of class, students will present their final papers. Depending on the number of students in the class, presentation lengths will vary, thus final details will be posted once class begins (time limits usually are around 10 minutes). Students are expected to speak from an outline, a copy of which they should turn in prior to the presentation.

The presentation should introduce the class to the movement you studied and outline the core argument made in your paper. You should also provide evidence (quotations from articles or primary texts) to support the main argument.

More helpful hints:

A) Do NOT simply read your paper for your presentation. The presentation should be formal and professional, but not scripted. I suggest you speak from a detailed outline (remember to include quotations from the readings in the outline to illustrate the points you want to make). Please bring two copies of the outline: one to speak from and one for me. DO practice the presentation to make sure your outline fits within the time limits. Time limits will be enforced, strictly.

B) Presume the audience is not familiar with your paper, but is educated about social protest. Thus, your presentation should include a detailed description of the specific act of protest and a less detailed reference to theories of protest. Your presentation does NOT need to include detailed definitions of common protest theory terms (i.e. confrontational rhetoric), but you might want to provide quick reminders of what extremely precise technical terms mean (i.e. oppositional argument). Do provide sufficient theoretical explanation of more complicated concepts so that the audience can follow your analysis.

C) Do not try to present all the arguments in your paper. You will not be able to cover everything in just a few minutes. Instead, give a brief overview of all your arguments, and then pick one or two on which to focus the presentation.

D) Think about answering the "so what?" question and think about what you want your audience to take away from the presentation. What really cool thing did you figure out as part of this class?

Good presentation link: All presentations should put into practice the skills and techniques learned in Oral Communication and/or Public Speaking classes. Here is a link to a general checklist to consult when preparing a speech.

3. Discussion: [15 points] Being a good participant does not mean that you always have the answer; it can also mean that you know when to ask the right questions and when to recognize that the answers have already been offered by the class but need to be synthesized. Discussion is a central component of this class insofar as each person's analysis of the text can be enhanced by others' insights. For a detailed description of the criteria used in the assessment of discussion, see my discussion link.

In order to be a full participant in discussion, you MUST have completed the assigned reading. I will open every class asking if there are questions, but beyond that, I will not review the readings. Instead, I will assume you have completed the reading, taken notes, and are ready to apply and analyze the readings. AnaLouise Keating (Teaching Transformation, 2007, p. 196) provides the following description of good academic practices in regards to reading for class:

  1. I expect you to complete all readings by the date listed on the syllabus;
  2. I expect you to read the material thoughtfully and in an engaged manner;
  3. I expect you to read all endnotes and footnotes;
  4. I expect you to read (not skim) all of the required readings--even those you find "boring" or difficult;
  5. I expect you to reread those texts that you have previously read
  6. I expect you to seek out definitions for words and terminology you don't know . . . try the following websites:
    • http:///
    • ...
    • [added by Cate]

For those who are uncertain about their ability to participate consistently, I suggest you do the following. For each week, I would like you to prepare a discussion log, no more than 1 single space typed page for each half, due the next class period. The log should have 2 halves:

A. Pre-class: a description of how you prepared to contribute to discussion (key concepts outlined, examples developed, questions formulated.);

B. Post-class: A self-assessment of your contribution to class using the five elements outlined in the discussion link. You should attach a grade to your participation for the class period in question.

4. Peer editing [10 points]

September 12: Bring two (2) copies of a draft of paper one to class. You will trade papers with two others. Edited papers should be returned to their authors on September 14 .

October 24: Bring two (2) copies of a draft of paper two to class. You will trade papers with two others. Edited papers should be returned to their authors on October 26.

November 28: Bring two (2) copies of a draft of your final paper to class. In class peer editing will occur. Edited papers should be returned to their authors on November 30.

Remember to sign your name to any paper you edit. Authors, please remember to turn in the edited version when you turn in your paper. Authors, your papers will not be considered turned in until you have turned in all the edits.

Editing guidelines: In order to receive the minimum passing credit for editing, you are expected to provide the following each time you edit:

1. Substantive edits: You are expected to provide a minimum of three (3) substantive suggestions. In order to make a good substantive suggestion, it usually requires at least a paragraph of writing. Given the length of these edits, you may want to type them. These suggestions can include:

  • Additional arguments to be made. You can point to additional evidence that supports their argument, or that modifies their argument in some way.
  • Additional citation on the history of the topic. You can provide the citation for a relevant essay or book, and explain the contribution it makes.
  • Additional variables or concepts that develop the thesis/research questions. You can provide a quotation and page number from the class texts, and explain what is revealed by using the concepts from the texts.
  • Additional scholarly citations. You can provide citations for articles from scholarly journals and books. You should summarize the concept from the scholar, and then explain it.
  • Major organizational changes. You can suggest a major reordering of the paper. This is more than moving the order of two paragraphs. Instead, it would constitute an alternative way to develop the argument.
  • Major differences in interpretation. You may disagree with some interpretive move the author makes. If so, make a case for an alternative interpretation, providing evidence.

2. Stylistic edits: You are expected to make a minimum of ten (10) style edits. They can include:

  • bibliographic citation corrections
  • internal citation corrections
  • typographical error corrections
  • grammar corrections
  • spelling corrections
  • sentence rewordings

5. Worksheets: [10 @ 2 points each] Template located on eLearning

Each week, on Tuesday, you should turn in a worksheet, no longer than 2 pages double-spaced. For each scholarly reading (approximately one page per reading), respond the following prompts:

A. Identify the core argument in the reading.

B. Select your favorite passage (sentence or paragraph) from the reading and explain why you find it interesting, challenging, enlightening, relevant, etc. Use appropriate citation form.

C. Select 2 key terms from each reading and provide definitions and examples of each. These can be terms identified on the syllabus or terms of your choosing.

D. Pose a question about the readings.

Track B: Test track. If your primary interest in taking the class is to fulfill a requirement and learn some basic knowledge, then this track is for you. The only requirements are two tests. Although I encourage you to complete the worksheets as part of your preparation for the tests, they are not required nor will they be graded, but I will provide feedback on them if you want. Although attending class should help you learn the material, attendance and discussion participation are not required either. This track simply holds you responsible for doing, and understanding, the assigned readings. However, should you choose this track, the highest grade you can receive is a "B".

1. Midterm [50 points] October 26.

2. Final [50 points] 1:00-2:50pm (Weds) December 13.

Track C: Graduate students: You will develop an individual assignment track that best fits your interests and needs, pending approval from me. You should write up a description of the assignments you choose to do, their due dates, and their point values and hand it in by September 1 (use this syllabus as a model for the format and level of detail expected). The assignment track is up to you, save for one part: weekly meetings. Graduate students also are expected to meet, as a group, with the professor outside of class for one hour weekly. We will compare schedules once class starts to find a time that works for everyone. Expect the meetings to start in the third week of classes. Meetings will be XXXX


Syllabus: (This syllabus is subject to change, although that rarely happens.) If changes happen, they will be in hot pink. The bibliographic form used in the syllabus is APA (with full first names).

Week Readings Assignments Key terms
1: August 22, 24: Studying Social Protest

Tu: Hess, Amanda. (2017, February 7). How a fractious women's movement came to lead the left. The New York Times Magazine.

Westervelt, Eric. (2017, April 17). ACT UP at 30: Reinvigorated for Trump. All Things Considered, NPR.

Th: Cox, Robert, & Christina R. Foust. (2009). Social movement rhetoric. In Andrea A. Lunsford, Kirt H Wilson, & Rosa A. Eberly (Eds.). The Sage handbook of rhetorical studies (pp. 605-627). Thousand Oaks, CA: Sage. available online through Rod Library

  rhetoric, performance, social protest, aesthetic/stylistic and political choices, body politics, dramatistic perspective, enactment, counterpublic
2: August 29, 31: History of Women's Protest Movements

Tu: Zaeske, Susan. (2002). Signatures of citizenship: The rhetoric of women's antislavery petitions. Quarterly Journal of Speech, 88(2), 147-168. on e Learning

Th: Kraditor, Aileen S. (1981). The ideas of the woman suffrage movement/1890-1920 (pp. 43-74). New York, NY: Norton. on eLearning

Palczewski, Catherine H. (2005). The male Madonna and the feminine Uncle Sam: Visual argument, icons, and ideographs in 1909 anti-woman suffrage postcards. Quarterly Journal of Speech, 91(4), 365-394. on eLearning

Tu: Worksheet due arguments from justice, arguments from expediency, ideograph, masculinity in crisis, political subjectivity, remonstrants, abolition, feminization of men, masculinization of women, visual argument
3: September 5, 7:

Tu: Campbell, Karlyn Kohrs. (1980). Stanton's "The Solitude of Self": A rationale for feminism. The Quarterly Journal of Speech, 66, 304-312. on eLearning

Th: Stillion Southard, Belinda A. (2007). Militancy, power, and identity: The Silent Sentinels as women fighting for political voice. Rhetoric & Public Affairs, 10(3), 399-418. on eLearning

Tu: Worksheet due lyric structure, humanism, militant identity, Elizabeth Cady Stanton, Silent Sentinels, rhetorical presidency, constitution of identity/comstitutive rhetoric
4: September 12, 14:

Tu: Piepmeier, Alison. (2004). The supreme right of American citizenship: Ida B. Wells, the lynch narrative, and the production of the American body. In Out in public: Configurations of women's bodies in nineteenth-century America (pp. 129-171). Chapel Hill: University of North Caroline Press. on eLearning

Th: Palczewski, Catherine H. (2016). The 1919 Prison Special: Constituting white women's citizenship. Quarterly Journal of Speech, 102(2), 107-132. on eLearning


Tu: Worksheet due

Sept. 12: Bring two (2) copies of a draft of paper one to class. You will trade papers with two others. Edited papers should be returned to their authors on September 14.

Ida B. Wells, lynching, citizenship as an embodied site, Diva citizenship, Prison Special, body argument, constitutive outside, constitutive rhetoric
5: September 19, 21: Rhetorics of the 1970s-1990s

Tu: Campbell, Karlyn Kohrs. (1973). The rhetoric of women's liberation: An oxymoron. Quarterly Journal of Speech, 59(1), 74-86. on eLearning

Dow, Bonnie. (2003). Feminism, Miss America, and media mythology. Rhetoric & Public Affairs, 6(1), 127-160. on eLearning

Th: Darsey, James. (1991). From "gay is good" to the scourge of AIDS: The evolution of gay liberation rhetoric, 1977-1990. on eLearning

Tu: Worksheet due

Sept. 21: paper 1 due

confrontrational rhetoric, women's liberation, oxymoron, distinctive stylistic features, empowerment, consciousness raising, symbolic reversals, WITCH, Miss American protest, bra-burning muth, media mythology, media framing of feminism, catalytic event, self-identity, ego-function, ACTUP, AIDS
6: September 26, 28: Rhetorics of 1990s-2000s, Guerrilla Girls and Slutwalks

Tu: Demo, Anne Teresa. (2000). The Guerrilla Girls' comic politics of subversion. Women's Studies in Communication, 23(2), 133-. on eLearning.

JOS. (2012, May 9). What if dude superheroes posed like lady superheroes [Web log message]. Retrieved from

(for more fun examples, see The Hawkeye Initiative, thanks to G. Siebring)

Th: Hill, Annie. (2016). SlutWalk as a perifeminist response to rape logic: The politics of reclaiming a name. Communication & Critical/Cultural Studies 13(1), 23-39. on eLearning


Kapur, Ratna. (2012). Pink chaddis and SlutWalk couture: The postcolonial politics of feminism lite. Feminist Legal Studies, 20, 1-20. on eLearning

Tu: Worksheet due visual rhetoric, perspective by incongruity, Guerilla Girls, mimicry, strategic juxtaposition, atom-cracking, comic frame, what to do when demands fail, SlutWalks, Pink Chaddi, consumer agency, dominance feminism, feminism "lite", postcolonial, rape logic, perifeminist response, victim blaming, resignification and reclaiming, performative protest
7: October 3, 5: Rethinking theory: Counterpublics and sex, gender, and sexuality

Tu: Fraser, Nancy. (1992). Rethinking the public sphere. In Craig Calhoun (Ed.), Habermas and the public sphere (pp. 109-142). Cambridge: MIT Press. on eLearning;

Th: Brouwer, Daniel. (2006). Communication as . . . Counterpublic. In Gregory Shepherd, Jeffrey St. John, and Ted Striphas (Eds.), Communication as . . . (pp. 195-208). Thousand Oaks: Sage. on eLearning

Tu: Worksheet due public sphere, counterpublic sphere, identity/interests/needs, enclave, oscillation, oppositional rhetoric and performance, discursive spaces, multiple publics, 5 functions of counterpublic theory

8: October 10, 12: Latinx feminisms


Tu: Flores, Lisa A. (1996). Creating discursive space through a rhetoric of difference: Chicana feminists craft a homeland. Quarterly Journal of Speech, 82, 142-156. on eLearning

Th: Chávez, Karma R. (2011). Counter-public enclaves and understanding the function of rhetoric in social movement coalition-building. Communication Quarterly, 59(1), 1-18. on eLearning

Tu: Worksheet due

rhetorics of difference, strategic essentialism, Chicana feminism, identity, 3 stages of idnetity formation (space/home/bridges), homeland, coalitional subjectivities, enclaves, immigration, Queer,

9: October 17, 19: Embodied protest


Tu: DeLuca, Kevin Michael. (1999). Unruly arguments: The body rhetoric of EarthFirst!, ACT UP, and Queer Nation. Argumentation and Advocacy, 36, 9-21. on eLearning

Th: West, Isaac. (2010). PISSAR's critically queer and disabled politics. Communication and Critical/Cultural Studies, 7(2), 156-175. on eLearning

"Periods for Pence" campaign

Smith, Mitch. (2016, April 6). Periods for Pence’ campaign targets Indiana Governor over abortion law . The New York Times.

Periods for Pence facebook page

Tu: Worksheet due body politics, body argument, ACTUP, Greenpeace, image event, constitutive rhetoric, reterritorialize, die-in, vulnerable bodies, bodies as site and substance of argument, PISSAR, Queer, Disabled Politics, space, transgender/genderqueer, bathrooms, coalitional politics, hegemony, consubstantiality, naming, shame/pride, identification, intersectionality

10: October 24, 26:


Tu: Tonn, Mari Boor. (1996). Militant motherhood: Labor's Mary Harris "Mother" Jones. The Quarterly Journal of Speech, 82(1), 1-21. on eLearning

Fabj, Valeria. (1993). Motherhood as political voice: The rhetoric of the Mothers of Plaza de Mayo. Communication Studies 44, 1-18. on eLearning

Th: Midterm


Tu: Worksheet due

Oct. 24 Bring two (2) copies of a draft of paper two to class. You will trade papers with two others. Edited papers should be returned to their authors on Oct. 26.

militant motherhood, strategic essentialism, Madres of Plaza de Mayo, Mother Jones, maternal roles, feminine style, rhetorical situation, collective action, mobilization, nurturing/militancy, marianismo/machismo, private voices' public power, essentialism, feminine style
11: October 31, November 2: Social Protest and Motherhood

Tu: Cram, E. (2012). "Angie was our sister:" Witnessing the trans-formation of disgust in the citizenry of photography. Quarterly Journal of Speech, 98(4), 411-438. on eLearning

Th: Rand, Erin J. (2013). An appetite for activism: The lesbian avengers and the queer politics of visibility. Women's Studies in Communication, 36, 121-141. on eLearning

Baton Rouge protest photo


Tu: Worksheet due

November 2: Paper 2 due

Angie Zapata, witnessing, disgust, Citizenry of photography, public emotionality, grief, performative enactment, transgender, Lesbian Avengers, rhetorics of visibility, Queer, activism, embodiment, lesbian chic, carnivalesque, anger, domestication of radical discourse, sexual objectification, heteronormativity, economics of heteronormative desire, disidentification,
12: November 7, 9: Focus 1

Tu: Flores on Zoot Suits on eLearning

Th: Brouwer & Horwitz: paper track can read shorter version, test track should read longer version on eLearning

Tu: Worksheet due

"zoot suit riots", style politics, visibility politics/crimes of visibility, blackened violence, counter-cultural embodied performance, alienation, violence/"legitimate" violence/chaotic violence, affect, threat, media framing, holocaust, tattoos, public memory, resignification, kairos, decorum, postmemory, affect, embodied pedagogy, progenic Holocaust tattoos
13: November 14, 16: Focus 2

Tu: Riley, Hollihan & Klumpp on militias on eLearning

Th: Duerringer on war on Christmas on eLearning

Tu: Worksheet due

lifeworld, militias, Internet conspiracy, ways the Internet magnifiesa group/protest, characteristics of counterpublic -- perceptual v. material, war on Christmas, vernacular, institutional, materiality
14: November 21, 23: Thanksgiving Break


15: November 28, 30: Focus 3

Tu: synthesis discussion

Th: Lake on Red Power

Tu: Worksheet due*** distinct format -- see eLearning

Nov 28: Bring two (2) copies of a draft of your final paper to class. You will trade papers with two others. Edited papers should be returned to their authors on November 30.

16: December 5, 7: Focus 4

tba: readings and presentations on a focus area chosen by students

Tu: Worksheet due

December 5: Paper 3 due

17: December 13 (weds) 1:00-2:50pm: Final exam period
  Final exam