Steel and Inks of Silk: Challenging the Great Visual/Verbal Divide.” Hill and Helmers, 87–110.
Gombrich, E. H. Art and Illusion: A Study in the Psychology of Pictorial Representation. London: Phaidon, 1960.
Hall, Stuart. “The Work of Representation.” Representation: Cultural Representations and Signifying Practices. Ed. Stuart Hall. London: Sage: 15–64.
Helmers, Marguerite. “Framing the Fine Arts Through Rhetoric.” Hill and Helmers, 63–86.
Hill, Charles A., and Marguerite Helmers. eds. Defining Visual Rhetorics. Mahwah NJ: Lawrence Erlbaum Assoc., 2004.
Hope, Diane S. “Gendered Environments: Gender and the Natural World in the Rhetoric of Advertising.” Hill and Helmers, 155–78.
Kienzler, Donna. “Visual Ethics.” The Journal of Business Communication 34.2 (1997): 171–87.
Kimmelman, Michael. “Abu Ghraib Photos Return, This Time as Art.” The New York Times 10 Oct. 2004: AR 29.
Kostelnick, Charles. “Melting-Pot Ideology, Modernist Aesthetics, and the Emergence of Graphical Conventions: The Statistical Atlases of the United States, 1874–1925.” Hill and Helmers, 215–42.
—. “A Systematic Approach to Visual Language in Business Communication.” The Journal of Business Communication 25.3 (1988): 29–48.
Kostelnick, Charles, and David D. Roberts. Designing Visual Language: Strategies for Professional Communicators. Boston: Allyn and Bacon, 1998.
Lambert, Bernadette, with Sylvia Martinez. “What a Garden Can Teach Us.” Winter and Robbins, 45–48
Lanham, Richard A. The Electronic Word: Democracy, Technology, and the Arts. U Chicago P, 1993.
Latour, Bruno and Steve Woolgar. Laboratory Life: The Construction of Scientific Facts. Princeton: Princeton UP, 1979.
Lemagny, Jean-Claude, and Andre Rouille. A History of Photography: Social and Cultural Perspectives. Trans. Janet Lloyd. Cambridge, UK: U of Cambridge P, 1987.
McKirahan, Richard. Philosophy Before Socrates: An Introduction With Text and Commentary. Indianapolis: Hackett Publishing Co., 1994.
McQuade, Donald, and Christine McQuade. Seeing & Writing 2. New York: Bedford/St. Martin’s, 2003.
Mitchell, W. J. T. Iconology: Image, Text, Ideology. Chicago: U of Chicago P, 1986.
—. “The Pictorial Turn.” ArtForum 30.7 (Mar. 1992), reprinted in Picture Theory: Essays on Visual and Verbal Representation: Chicago: U of Chicago P, 1994.
Momaday, N. Scott. “The Photograph.” The Man Made of Words. St. Martin’s, 1997. 191.
Mulvey, Laura. “Visual Pleasure and Narrative Cinema.” Screen 16.3 (1975): 6–18.
Newhall, Beaumont. The History of Photography. New York: The Museum of Modern Art, 1982.
Perlmutter, David D. Photojournalism and Foreign Policy: Icons of Outrage in International Crisis. Westport, CT: Praeger, 1998.
Porter, James E. Rhetorical Ethics and Internetworked Writing. Greenwich, CT: Ablex Publishing Corp., 1998.
Richards, Anne R. “Argument and Authority in the Visual Representations of Science.” Technical Communication Quarterly 12.2 (2003): 183–206.
Richards, Anne R., and Carol David. “Decorative Color as a Rhetorical Enhancement on the World Wide Web.” Technical Communication Quarterly 14.1 (2005): 31–48.
Robbins, Sarah. “’Writing Suburbia,’ in Image and Print Text.” Winter and Robbins, 166–69.
Salinas, Carlos. “Technical Rhetoricians and the Art of Configuring Images.” Technical Communication Quarterly 11.2 (2002): 165–83.
Schriver. Karen A. Dynamics in Document Design: Creating Texts for Readers. New York: John Wiley and Sons, 1997.
Sontag, Susan. “Regarding the Torture of Others.” The New York Times Magazine. 23 May 2004: 24–29+
—. On Photography. London: Penguin Books, 1979.
Strachan, J. Cherie, and Kathleen E. Kendall. “Political Candidates’ Convention Films: Finding the Perfect Image—An Overview of Political Image Making.” Hill and Helmers, 135–54.
Stroupe, Craig. “The Rhetoric of Irritation: Inappropriateness as Visual Literate Practice.” Hill and Helmers, 243–58.
Tange, Andrea Kaston. “Envisioning Domesticity, Locating Identity: Constructing the Victorian Middle Class Through Images of Home.” Hill and Helmers, 277–302.
Tagg, John. The Burden of Representation: Essays on Photographies and Histories. London: MacMillan Education, Ltd., 1988.
Tebeaux, Elizabeth. The Emergence of a Tradition: Technical Writing in the English Renaissance, 1464–1640. Amityville, NY: Baywood Publishing Co., 1997.
—. “From Orality to Textuality: Technical Description and the Emergence of Visual and Verbal Presentation,” The Emergence of a Tradition, 175–236.
—. “The Voices of English Women Technical Writers, 1641–1700: Imprints in the Evolution of Modern English Prose Style.” Technical Communication Quarterly 7.2 (1998): 125–53.
Tufte, Edward R. The Visual Display of Quantitative Information. Cheshire, CT: Graphics, 1983.
Winter, Dave, and Sarah Robbins. Forging Communities: Interdisciplinary Lessons and Reflective Models for Exploring American Culture. Kennesaw, GA: Kennesaw Mountain Writing Project, 2002.
Wolf, Sylvia. Julia Margaret Cameron’s Women. New Haven: Yale UP, 1998.
2 Seeing Rhetoric
Nancy Allen
It’s safe to say that rhetoric—as an approach to using words to inform, deliberate, and persuade—has been tested by the ages. Uses of rhetoric reach from the classical period of Greek civilization to modern writing classrooms, policy determinations, and political campaigns. Explanations of and guidelines for using rhetoric in written and oral communication abound.
We live, however, in a visually oriented time. According to Arthur Berger, author of numerous books on culture and media, “We live in a world of things seen, a world that is visual [. . .]. Like fish, we ‘swim’ in a sea of images, and these images help shape our perceptions of the world and of ourselves” (1). Ann Marie Seward Barry, author of Visual Intelligence, concurs, observing, “Visual communication dominates every area of our lives” (3). We now recognize that effective communication includes more than words.
Imagine yourself about to read an essay or listen to a speech. Your first impressions begin with visual elements. Before we read the opening sentence or hear a speaker’s first words, we have already begun to form impressions from the setting, the medium, and the speaker’s appearance. These features fall within the domain of visual rhetoric. We bring a different set of expectations to reading a magazine, comic book, or the Web, to comments by a sequined rock star or a white-coated doctor,
