Diana Eidson | Auburn University (original) (raw)
Helen Diana Eidson received her doctorate in English from Georgia State University with a concentration in Rhetoric and Composition. As an Assistant Professor of English at Auburn, she teaches courses in first-year writing, rhetorical theory and practice, and cultural rhetorics. Diana’s research interests include working-class rhetoric, social movement studies, community literacy, critical theory, and critical pedagogy. Her current scholarship involves archival work at the University of Florida toward writing a rhetorical biography of Stetson Kennedy (1916-2011), a journalist and nonfiction author fighting for civil rights and workers’ rights over a seven-decade long career. Diana has also been published in literary criticism and on the spatial rhetoric of sites in the Eastern Roman Empire.
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Tree Hugging: Employing Performative Rhetoric in the Environmental Movement "We would hurl oursel... more Tree Hugging: Employing Performative Rhetoric in the Environmental Movement "We would hurl ourselves across the canvas of society like streaks of splattered paint. Highly visual images would become news, and rumormongers would rush to spread the excited word." -Abbie Hoffman Abbie Hoffman's guerrilla theater, consisting predominantly of acts of outrage against capitalist excess (the distribution of black-inked daffodils and soot at the Consolidated Edison building is but one example), catalyzed acts of performative rhetoric in other movements as well. The environmental movement, while being caught in the milieu of protest rhetoric since the 1970s, is undergoing an ideological shift in the twenty-first century. Perhaps the 2004 film I ♥ Huckabees captures the ambivalent zeitgeist of new millennium society's effort to sustain itself in light of climate change, or perhaps the film's creators are satirizing environmental zealots. Either way, the protagonist Albert Markovski embodies both commitment and existential angst about the impact of acts of performative rhetoric to effect improved environmental policies and practices. As the film opens, Albert engages in self-talk as he approaches the site of a scheduled act of protest against the destruction of wetlands. After a string of selfcastigating epithets, Albert becomes more contemplative, wondering, "Is my work doing any good? Is anybody paying attention? Is it hopeless to try and change things?" As a few people gather taking Yıldız 2 notes and pictures, Albert engages in what J.L. Austin calls a performative act. He points to a large boulder surrounded by a fence of caution tape: I'm glad we saved a piece of this marsh. I know it's small, but at least it's something. Don't stop fighting. We're going to save a lot more of this place. To celebrate, I have a poem I'd like to read: "Nobody sits like this rock sits. You rock, rock. The rock just sits, and is. You show us how to just sit here. And that's what we need." (ch. 1)
Service Learning: "Doing" Civic Rhetoric through Discourse Synthesis "Never doubt that a small gr... more Service Learning: "Doing" Civic Rhetoric through Discourse Synthesis "Never doubt that a small group of thoughtful, committed citizens can change the world; indeed it's the only thing that ever does." Margaret Mead
Tree Hugging: Employing Performative Rhetoric in the Environmental Movement "We would hurl oursel... more Tree Hugging: Employing Performative Rhetoric in the Environmental Movement "We would hurl ourselves across the canvas of society like streaks of splattered paint. Highly visual images would become news, and rumormongers would rush to spread the excited word." -Abbie Hoffman Abbie Hoffman's guerrilla theater, consisting predominantly of acts of outrage against capitalist excess (the distribution of black-inked daffodils and soot at the Consolidated Edison building is but one example), catalyzed acts of performative rhetoric in other movements as well. The environmental movement, while being caught in the milieu of protest rhetoric since the 1970s, is undergoing an ideological shift in the twenty-first century. Perhaps the 2004 film I ♥ Huckabees captures the ambivalent zeitgeist of new millennium society's effort to sustain itself in light of climate change, or perhaps the film's creators are satirizing environmental zealots. Either way, the protagonist Albert Markovski embodies both commitment and existential angst about the impact of acts of performative rhetoric to effect improved environmental policies and practices. As the film opens, Albert engages in self-talk as he approaches the site of a scheduled act of protest against the destruction of wetlands. After a string of selfcastigating epithets, Albert becomes more contemplative, wondering, "Is my work doing any good? Is anybody paying attention? Is it hopeless to try and change things?" As a few people gather taking Yıldız 2 notes and pictures, Albert engages in what J.L. Austin calls a performative act. He points to a large boulder surrounded by a fence of caution tape: I'm glad we saved a piece of this marsh. I know it's small, but at least it's something. Don't stop fighting. We're going to save a lot more of this place. To celebrate, I have a poem I'd like to read: "Nobody sits like this rock sits. You rock, rock. The rock just sits, and is. You show us how to just sit here. And that's what we need." (ch. 1)
Service Learning: "Doing" Civic Rhetoric through Discourse Synthesis "Never doubt that a small gr... more Service Learning: "Doing" Civic Rhetoric through Discourse Synthesis "Never doubt that a small group of thoughtful, committed citizens can change the world; indeed it's the only thing that ever does." Margaret Mead