This book provides close-textual analysis of traditional and mediated, popular memorials that tackle some of the most significant sources of pain in United States. In doing so, Tiara K. Good argues that pain is highly rhetorical and functions to form collectives and instigate change. This book also demonstrates how popular media texts, such as Nia DaCosta’s 2021 Candyman and Hulu’s original 2021 series Dopesick, hold enormous potential to be effective memorials by virtue of their accessibility and quality of being unbounded by space and place. Tiara K. Good analyzes how each memorial rhetorically operates to demand witness and craft witnesses into people whom can make change. Scholars of rhetoric, public memory, and communication will find this book of particular interest.

The author explores the changing rhetoric of pain medicine and how this rhetoric ultimately shapes the health-care community's understanding of what pain medicine is, how the medicine should be practiced and regulated, and how practitioner-patient relationships are best managed. -- Dust jacket.

In this compelling new study, Debra Walker King considers fragments of experience recorded in oral histories and newspapers as well as those produced in twentieth-century novels, films, and television that reveal how the black body in pain functions as a rhetorical device and as political strategy. King's primary hypothesis is that, in the United States, black experience of the body in pain is as much a construction of social, ethical, and economic politics as it is a physiological phenomenon. As an essential element defining black experience in America, pain plays many roles. It is used to promote racial stereotypes, increase the sale of movies and other pop culture products, and encourage advocacy for various social causes. Pain is employed as a tool of resistance against racism, but it also functions as a sign of racism's insidious ability to exert power over and maintain control of those it claims--regardless of race. With these dichotomous uses of pain in mind, King considers and questions the effects of the manipulation of an unspoken but long-standing belief that pain, suffering, and the hope for freedom and communal subsistence will merge to uplift those who are oppressed, especially during periods of social and political upheaval. This belief has become a ritualized philosophy fueling the multiple constructions of black bodies in pain, a belief that has even come to function as an identity and community stabilizer. In her attempt to interpret the constant manipulation and abuse of this philosophy, King explores the redemptive and visionary power of pain as perceived historically in black culture, the aesthetic value of black pain as presented in a variety of cultural artifacts, and the socioeconomic politics of suffering surrounding the experiences and representations of blacks in the United States. The book introduces the term Blackpain, defining it as a tool of national mythmaking and as a source of cultural and symbolic capital that normalizes individual suffering until the individual--the real person--disappears. Ultimately, the book investigates America's love-hate relationship with black bodies in pain.

Beyond the Rhetoric of Pain presents a fresh, interdisciplinary approach to the current research on pain from a variety of scholarly angles within Literature, Film and Media, Game Studies, Art History, Hispanic Studies, Memory Studies, Anthropology, Sociology, Philosophy, and Law. Through the combination of these perspectives, this volume goes beyond the existing structures within and across these disciplines framing new concepts of pain in attitude, practice, language, and ethics of response to pain. Comprised of fourteen unique essays, Beyond the Rhetoric of Pain maintains a common thread of analysis using a historical and cultural lens to explore the rhetoric of pain. Considering various methodologies, this volume questions the ethical, social and political demands pain makes upon those who feel, watch or speak it. Arranged to move from historical cases and relevance of pain in history towards the contemporary movement, topics include pain as a social figure, rhetorical tool, artistic metaphor, and political representation in jurisprudence.

Jost juxtaposes problems and questions in philosophy and literature, using rhetoric as the middle term and common ground between them.

For this edited volume, the editors solicited chapters that investigate the place of nonhuman animals in the purview of rhetorical theory; what it would mean to communicate beyond the human community; how rhetoric reveals our "brute roots." In other words, this book investigates themes that enlighten us about likely or possible implications of the animal turn within rhetorical studies. The present book is unique in its focus on the call for nonanthropocentrism in rhetorical studies. Although there have been many hints in recent years that rhetoric is beginning to consider the implications of the animal turn, as yet no other anthology makes this its explicit starting point and sustained objective. Thus, the various contributions to this book promise to further the ongoing debate about what rhetoric might be after it sheds its long-standing humanistic bias.

How does a nation redeem itself? What ideas, values, and strategies get mobilized in order for a nation to feel good about itself again? Is such a recovery possible for an entire people? America's Atonement provides one answer to these and related questions by arguing that racial pain, notably white racial pain, provides a metaphor for understanding a wide range of redemption-aimed cultural practices, ranging from the Yellow Ribbon Movement (1972-1992) to the current wave of recovery movies such as Disclosure and Forrest Gump.