This handout serves as a guide for student peer-reviewers to provide useful feedback to the writer. The open-ended questions walk the reviewer through the rhetorical analysis essay and provide a structure for evaluating the thesis, organization, rhetorical strategies, and use of pathos, ethos, logos, and kairos in the paper. The Rhetorical…[Read more]

Shakespearean tragedies and comedies have been adapted to the silver screen in India, Malaysia, Tibet, Hong Kong, Singapore, China, and Japan. How do Shakespeare and modern directors talk to each other across cultural and historical divides? Why are particular strategies used or themes emphasized? How are pre-linguistic structures of spectacle and…[Read more]

This essay analyzes the illustration sequences of the four magnificent Gospel books made for Judith of Flanders within the context of the political chaos in pre-Conquest England. These deluxe display books indicate one of the ways that literacy and literary patronage provided cultural legitimacy and social status for secular women in the late…[Read more]

This essay examines the uneasy relationship that Arturo Islas’s The Rain God has had with narratives of identity, focusing on how the representation of Felix’s sexuality makes him a problematic figure for certain strains of Chicana/o and queer studies. In other writings, Islas criticizes Quinto Sol, the chief publishing house of Chicano literature…[Read more]

In late 1991, an editor at the Sunday New York Times Book Review asked me to write a feature article about that uniquely American genre, the Indian captivity narrative. When the editor called, I was dean of the College of Humanities at the University of Arizona. I accepted the Times assignment in hopes that writing this article might prove a…[Read more]

In late 1991, an editor at the Sunday New York Times Book Review asked me to write a feature article about that uniquely American genre, the Indian captivity narrative. When the editor called, I was dean of the College of Humanities at the University of Arizona. I accepted the Times assignment in hopes that writing this article might prove a…[Read more]

In Joel and Ethan Coen’s 1998 film The Big Lebowski, The Stranger’s opening voiceover poses the following question: In a world controlled by “I’s,” by states intent upon realizing an extreme freedom through violence, how should the singular person respond?

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Aggregate larp rules are a type of code that runs on humans. Code can be thought of as a linguistic form that is both declarative and imperative; it is both truth and command (Buswell 2009). In aggregate larp, elements of the game’s
diegesis are rendered codic, or playable, allowing players a degree of autonomy from game staff. Through the m…[Read more]

Fantastic tales of rebellious robots and animated artifacts are a permanent fixture in popular culture. What kind of behavior do we expect from such conceptual hybrids in science fiction, nonsense poetry, and surrealist art?

Fantastic tales of rebellious robots and animated artifacts are a permanent fixture in popular culture. What kind of behavior do we expect from such conceptual hybrids in science fiction, nonsense poetry, and surrealist art?

Fantastic tales of rebellious robots and animated artifacts are a permanent fixture in popular culture. What kind of behavior do we expect from such conceptual hybrids in science fiction, nonsense poetry, and surrealist art?