Although nudity is something that everyone has experience with, public nudity is still largely considered taboo. Public Nudity and the Rhetoric of the Body examines instances of public nudity where sexuality is at the forefront of public body display. It presents a range of case studies: the legal aspects of sexualized public nudity as it relates to communication theory and the First Amendment; the controversies surrounding the work of photographer Jock Sturges; the public performance art of Milo Moiré; the topless protests of FEMEN; the social media activism of Aliaa Magda Elmahdy; the ritualized flashing during Mardi Gras in New Orleans; and the sexual displays of Folsom Street Fair, the largest leather pride festival. Taken together, these cases teach much about identity, self-determination, and sexuality, and illustrate the complicated rhetorical nature of the human body in the public sphere.

Naked Politics: Nudity, Political Action, and the Rhetoric of the Body by Brett Lunceford, examines the rhetorical power of the unclothed body as it relates to protest and political action. This study explores what the disrobed body communicates, and how others are invited to make sense of this display. The actions examined range from grassroots protests to those of professionalized social movement organizations. Specifically, Lunceford examines PETA and the use of chained women and the Running of the Nudes; lactivists, or women engaging in public breastfeeding as protest action in both online and physical space; the World Naked Bike Ride’s worldwide protest against oil dependency and attempt to raise awareness of the vulnerability of cyclists; and a contest held on College Humor that invited women to write their preferred presidential candidate on their exposed breasts and send the picture to them to post on the site. Although these actions may seem to have little in common beyond their use of body exposure, they all share the notions that something can happen when you take your clothes off and that the act of disrobing can have social and political consequences. Moreover, these groups illustrate the often paradoxical views of the exposed body—by both the participants and the observers—and how such bodies operate in the public sphere. Even when the voice is silent, the body still speaks; Naked Politics considers what is being said.

The Nude explores some of the principal ways that paintings of the nude function in the conflicted terrain of culture and society in Europe and America from the fifteenth through twentieth centuries, as set against questions about human sexuality that emerge around differences of class, gender, age, and race. Author Richard Leppert relates the visual history of how the naked body intersects with the foundational characteristics of what it is to be human, measured against a range of basic emotions (happiness, delight, and desire; fear, anxiety, and abjection) and read in the context of changing social and cultural realities. The bodies comprising the Western nude are variously pleasured or tormented, ecstatic or bored, pleased or horrified. In short, as this volume amply demonstrates, the nude in Western art is a terrain on whose surface is written a summation of Western history: its glory but also its degradation.

This book challenges the Western contemporary “praise for Nature”. From food to body practices, from ecological discourses to the Covid-19 pandemic, contemporary imaginaries abound with representations of an ideal “pure Nature”, essentially defined according to a logic of denial of any artificial, modified, manipulated — in short, cultural — aspect. How should we contextualise and understand such an opposition, especially in light of the rich semantic scope of the term “nature” and its variability over time? And how can we — if we actually can — envisage alternative models and approaches capable of better accounting for such richness and variability? The author addresses these fundamental issues, combining an initial theoretical problematisation of the concept of nature and its evolution — from classical philosophy to the crucial changes occurred through the Middle Ages, the Renaissance, Romanticism and the modern era, finally considering recent insights in philosophy, sociology, cultural anthropology and semiotics — with the analysis of its discursivisation — from the iconography of Mother Nature between the past and the present to the representation of catastrophic events in fictional and non-fictional texts, from clean eating and other popular food trends to the ambivalence of the naked body between its supposed natural ascription and its multiple cultural characterisations. Thus she introduces a critique of pure Nature, providing a systematic study of the way nature is attributed meaning and value in some of today’s most relevant discourses and practices, and finally tracing a possible path towards an “internatural turn”.

Increasingly, rhetorical scholars are using fieldwork and other ethnographic, performance, and qualitative methods to access, document, and analyze forms of everyday in situ rhetoric rather than using already documented texts. In this book, the authors argue that participatory critical rhetoric, as an approach to in situ rhetoric, is a theoretically, methodologically, and praxiologically robust approach to critical rhetorical studies. This book addresses how participatory critical rhetoric furthers understanding of the significant role that rhetoric plays in everyday life through expanding the archive of rhetorical practices and texts, emplacing rhetorical critics in direct conversation with rhetors and audiences at the moment of rhetorical invention, and highlighting marginalized voices that might otherwise go unnoticed. This book organizes the theoretical and methodological foundations of participatory critical rhetoric through four vectors that enhance conventional rhetorical approaches: 1) the political commitments of the critic; 2) rhetorical reflexivity and the role of the embodied critic; 3) emplaced rhetoric and the interplay between the field, text, and context; and 4) multiperspectival judgment that is informed by direct participation with rhetors and audiences. In addition to laying the groundwork and advocating for the approach, Participatory Critical Rhetoric also offers significant contributions to rhetorical theory and criticism more broadly by revisiting the field’s understanding of core topics such as role of the critic, text/context, audience, rhetorical effect, and the purpose of criticism. Further, it enhances theoretical conversations about material rhetoric, place/space, affect, intersectional rhetoric, embodiment, and rhetorical reflexivity.

Stripped examines the ways in which erotic bodies communicate in performance and as cultural figures. Focusing on symbols independent of language, Maggie M. Werner explores the signs and signals of erotic dance, audience responses to these codes, and how this exchange creates embodied rhetoric. Informed by her own ethnographic research conducted in strip clubs and theaters, Werner analyzes the movement, dress, and cosmetic choices of topless dancers and neo-burlesque performers. Drawing on critical methods of analysis, she develops approaches for interpreting embodied erotic rhetoric and the marginal cultural practices that construct women’s public erotic bodies. She follows these bodies out into the streets—into the protest spaces where sex workers and anti-rape activists challenge discourses about morality and victimhood and struggle to remake their own identities. Throughout, Werner showcases the voices of these performers and in the analyses shares her experiences as an audience member, interviewer, and paying customer. The result is a uniquely personal and erudite study that advances conversations about women’s agency and erotic performance, moving beyond the binary that views the erotic body as either oppressed or empowered. Theoretically sophisticated and delightfully intimate, Stripped is an important contribution to the study of the rhetoric of the body and to rhetorical and performance studies more broadly.

Visual images, artifacts, and performances play a powerful part in shaping U.S. culture. To understand the dynamics of public persuasion, students must understand this "visual rhetoric." This rich anthology contains 20 exemplary studies of visual rhetoric, exploring an array of visual communication forms, from photographs, prints, television documentary, and film to stamps, advertisements, and tattoos. In material original to this volume, editors Lester C. Olson, Cara A. Finnegan, and Diane S. Hope present a critical perspective that links visuality and rhetoric, locates the study of visual rhetoric within the disciplinary framework of communication, and explores the role of the visual in the cultural space of the United States. Enhanced with these critical editorial perspectives, Visual Rhetoric: A Reader in Communication and American Culture provides a conceptual framework for students to understand and reflect on the role of visual communication in the cultural and public sphere of the United States. Key Features and Benefits Five broad pairs of rhetorical action—performing and seeing; remembering and memorializing; confronting and resisting; commodifying and consuming; governing and authorizing—introduce students to the ways visual images and artifacts become powerful tools of persuasion Each section opens with substantive editorial commentary to provide readers with a clear conceptual framework for understanding the rhetorical action in question, and closes with discussion questions to encourage reflection among the essays The collection includes a range of media, cultures, and time periods; covers a wide range of scholarly approaches and methods of handling primary materials; and attends to issues of gender, race, sexuality and class Contributors include: Thomas Benson; Barbara Biesecker; Carole Blair; Dan Brouwer; Dana Cloud; Kevin Michael DeLuca; Anne Teresa Demo; Janis L. Edwards; Keith V. Erickson; Cara A. Finnegan; Bruce Gronbeck; Robert Hariman; Christine Harold; Ekaterina Haskins; Diane S. Hope; Judith Lancioni; Margaret R. LaWare; John Louis Lucaites; Neil Michel; Charles E. Morris III; Lester C. Olson; Shawn J. Parry-Giles; Ronald Shields; John M. Sloop; Nathan Stormer; Reginald Twigg and Carol K. Winkler "This book significantly advances theory and method in the study of visual rhetoric through its comprehensive approach and wise separations of key conceptual components." —Julianne H. Newton, University of Oregon