Rhetorical Ecologies invites you on a transformative journey through the history of writing and rhetoric studies' adoption of ecology, situating this history in rich discussions about:

• the potential that ecology holds for rhetoric and writing studies;
• the untapped potential of ecology in fostering inclusive, equitable, and justice-oriented approaches to rhetorical inquiry; and
• the diverse and dynamic nature of rhetoric ecologies.

Rather than attempting to outline a complete map of rhetorical ecologies as a unified concept, this book and its contributors are more interested in the idea that rhetorical ecologies are multiple, divergent, and highly situated knowledge-making practices. The variety of perspectives presented in this book provide a solid foundation for understanding how the ecological model of writing can help students become better writers.

NEW MEDIA THEORY SERIES Edited by BYRON HAWK WRITING POSTHUMANISM, POSTHUMAN WRITING turns the posthumanist gaze upon writing. Ultimately, this collection considers the relationship between posthumanisms and writing with the aim of developing posthumanist theories of writing and the theoretical possibilities generated from the dialectic between them. Each of the sixteen contributors embraces the complexities and nascence of the very idea of posthumanism and the posthuman as indicative of the rich potential of inquiry under the posthuman umbrella. They provide more incentive to fragment the umbrella than to coalesce its subsumptions. Edited by Sidney I. Dobrin, WRITING POSTHUMANISM, POSTHUMAN WRITING does not sum up or even dampen posthuman writing theories by curating them. Instead, these essays can be read as a jailbreak, as a public act of defiance, as an attempt to incite and disrupt Writing Studies from the constraints of humanist thought. Contributors include Michelle Ballif, Kate Birdsall, Bruce Clarke, D. Diane Davis, Julie Drew, Kristie S. Fleckenstien, Byron Hawk, Kyle Jensen, Chris Lindgren, Melissa M. Littlefield, Andrew Mara, Sean Morey, J. A. Rice, Jim Ridolfo, and Lynn Worsham. They write about symbol-using animals, trauma studies, zombies, postsexual subjects, prosthetic spaces, posthumanist style, human and nonhuman actors, technological deism, object-oriented rhetorics, graphology and neuroscience, spam, cyborgs, cybernetics, and more. Sidney I. Dobrin is Professor of English and Director/Editor of the TRACE Innovation Initiative at the University of Florida. He is author and editor of many books and articles, including Gone. Fishing. Recreational Saltwater Sportfishing and the Future of the World's Oceans (forthcoming, Texas A&M University Press).

Exploring image and imagination in conjunction with natural environments, the animal, and the human, this collection of essays turns the ecocritical and ecocompositional gaze upon comic studies. The comic form has a long tradition of representing environmental rhetoric. Through discussions of comics including A.D.: New Orleans After the Deluge, We3, Concrete, and Black Orchid, these essays bring the rich work of ecological criticism into dialogue with the multi-faceted landscape of comics, graphic novels, web-comics, cartoons, and animation. The contributors ask not only how nature and environment are portrayed in these texts but also how these textual forms inform how we come to know nature and environment--or what we understand those terms to represent. Interdisciplinary in approach, this collection welcomes diverse approaches that integrate not only ecocriticism and comics studies, but animal studies, posthumanism, ecofeminism, queer ecology, semiotics, visual rhetoric and communication, ecoseeing, image-text studies, space and spatial theories, writing studies, media ecology, ecomedia, and other methodological approaches.

This book initiates a conversation about blue ecocriticism: critical, ethical, cultural, and political positions that emerge from oceanic or aquatic frames of mind rather than traditional land-based approaches.

Ecocriticism has rapidly become not only a disciplinary legitimate critical form but also one of the most dynamic, active criticisms to emerge in recent times. However, even in its institutional success, ecocriticism has exemplified an ocean deficit. That is, ecocriticism has thus far primarily been a land-based criticism stranded on a liquid planet. Blue Ecocriticism and the Oceanic Imperative contributes to efforts to overcome ecocriticism's ocean-deficit. The chapters explore a vast archive of oceanic literature, visual art, television and film, games, theory, and criticism. By examining the relationships between these representations of ocean and cultural imaginaries, Blue Ecocriticism works to unmoor ecocriticism from its land-based anchors.

This book aims to simultaneously advance blue ecocriticism as an intellectual pursuit within the environmental humanities and to advocate for ocean conservation as derivative of that pursuit.

Mediating Nature considers how technology acts as a mediating device in the construction and circulation of images that inform how we see and know nature. Scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric, and this book engages ecocritical and ecocompositional inquiry to shift focus onto the making of images.

Contributors to this dynamic collection focus their efforts on the intersections of digital media and environmental/ecological thinking. Part of the book's larger argument is that analysis of mediations of nature must develop more critical tools of analysis toward the very mediating technologies that produce such media. That is, to truly understand mediations of nature, one needs to understand the creation and production of those mediations, right down to the algorithms, circuit boards, and power sources that drive mediating technologies.

Ultimately, Mediating Nature contends that ecological literacy and environmental politics are inseparable from digital literacies and visual rhetorics. The book will be of interest to scholars and students working in the fields of Ecocriticism, Ecocomposition, Media Ecology, Visual Rehtoric, and Digital Literacy Studies.

This book initiates a conversation about blue ecocriticism: critical, ethical, cultural, and political positions that emerge from oceanic or aquatic frames of mind rather than traditional land-based approaches.

Ecocriticism has rapidly become not only a disciplinary legitimate critical form but also one of the most dynamic, active criticisms to emerge in recent times. However, even in its institutional success, ecocriticism has exemplified an ocean deficit. That is, ecocriticism has thus far primarily been a land-based criticism stranded on a liquid planet. Blue Ecocriticism and the Oceanic Imperative contributes to efforts to overcome ecocriticism's ocean-deficit. The chapters explore a vast archive of oceanic literature, visual art, television and film, games, theory, and criticism. By examining the relationships between these representations of ocean and cultural imaginaries, Blue Ecocriticism works to unmoor ecocriticism from its land-based anchors.

This book aims to simultaneously advance blue ecocriticism as an intellectual pursuit within the environmental humanities and to advocate for ocean conservation as derivative of that pursuit.

This collection is organized around the concept of abduction, a logical operation introduced by Charles Sanders Peirce that explains how new ideas are formed in response to an uncertain future. Responding to this uncertain future with rigor and insight, each essay imagines new methods, concepts, and perspectives that extend writing studies research into startling new terrain. To appeal to a wide range of audiences, the essays work within foundational areas in rhetoric and composition research such as space, time, archive, networks, inscription, and life. Some of the essays take familiar concepts such as historiography, the writing subject, and tone and use abduction to chart new paths forward. Others use abduction to identify areas within writing studies such as futural writing, the calling of place, and risk that require more sustained attention. Taken together, these essays expose the manifold pathways that writing studies research may pursue.

Each of the twelve essays that comprise this collection sparks new insights about the phenomenon of writing. A must-read for rhetoric and composition scholars and students, Abducting Writing Studies is sure to foster vibrant discussions about what is possible in writing research and instruction.

Examines the relationships between language and nature.

The first full-length book to address the relationships between environment and discourse, Natural Discourse explains why and how ecocomposition has become such a critical part of composition studies. Beginning by exploring the roots of ecocomposition, including a history of the use of the term ecocomposition, the book then examines ecological aspects of composition studies, and looks at how ecocomposition is informed by ecocriticism, cultural studies, ecofeminism, environmental rhetoric, and composition studies. The authors draw on their own experiences as teachers of writing and outdoor enthusiasts to describe how ecocomposition can address issues of language and nature, public intellectualism, and pedagogy.

Mediating Nature considers how technology acts as a mediating device in the construction and circulation of images that inform how we see and know nature. Scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric, and this book engages ecocritical and ecocompositional inquiry to shift focus onto the making of images.

Contributors to this dynamic collection focus their efforts on the intersections of digital media and environmental/ecological thinking. Part of the book's larger argument is that analysis of mediations of nature must develop more critical tools of analysis toward the very mediating technologies that produce such media. That is, to truly understand mediations of nature, one needs to understand the creation and production of those mediations, right down to the algorithms, circuit boards, and power sources that drive mediating technologies.

Ultimately, Mediating Nature contends that ecological literacy and environmental politics are inseparable from digital literacies and visual rhetorics. The book will be of interest to scholars and students working in the fields of Ecocriticism, Ecocomposition, Media Ecology, Visual Rehtoric, and Digital Literacy Studies.

Examines the relationship between theoretical and practical knowledge, within the academy in general and composition studies in particular.

In this thought-provoking and gracefully written new book, Sidney Dobrin examines current debates over the relative value of theoretical and practical knowledges, both in the academy in general and in the discipline of rhetoric and composition. He explores arguments about whether theorizing is an appropriate mode of scholarly inquiry for a field that is primarily informed by practical knowledge, whether theory-building in general speaks to local concerns, and whether the production of theory in composition leads to scholarship that is more obfuscating than illuminating. Ultimately, Dobrin argues that theoretical investigation should be an indispensable form of knowledge-making in composition and that theory and practice must necessarily inform one another.

Examines the relationships between language and nature.

The first full-length book to address the relationships between environment and discourse, Natural Discourse explains why and how ecocomposition has become such a critical part of composition studies. Beginning by exploring the roots of ecocomposition, including a history of the use of the term ecocomposition, the book then examines ecological aspects of composition studies, and looks at how ecocomposition is informed by ecocriticism, cultural studies, ecofeminism, environmental rhetoric, and composition studies. The authors draw on their own experiences as teachers of writing and outdoor enthusiasts to describe how ecocomposition can address issues of language and nature, public intellectualism, and pedagogy.

Including interviews with several of America's leading environmental writers, this volume addresses the intersections between writing and nature.

Writing Environments addresses the intersections between writing and nature through interviews with some of America's leading environmental writers. Those interviewed include Rick Bass, Cheryll Glotfelty, Annette Kolodny, Max Oelschlaeger, Simon J. Ortiz, David Quammen, Janisse Ray, Scott Russell Sanders, Edward O. Wilson, and Ann H. Zwinger. From the standpoints of activists, scientists, naturalists, teachers, and highly visible writers, the interviewees consider how different environments have influenced them, how their writing affects environments, and the ways readers experience environments. The interviews are followed by critical responses from writing scholars. This diverse range of voices speaks lucidly and captivatingly about topics such as place, writing, teaching, politics, race, and culture, and how these overlap in many complex ways.

Including interviews with several of America's leading environmental writers, this volume addresses the intersections between writing and nature.

Writing Environments addresses the intersections between writing and nature through interviews with some of America's leading environmental writers. Those interviewed include Rick Bass, Cheryll Glotfelty, Annette Kolodny, Max Oelschlaeger, Simon J. Ortiz, David Quammen, Janisse Ray, Scott Russell Sanders, Edward O. Wilson, and Ann H. Zwinger. From the standpoints of activists, scientists, naturalists, teachers, and highly visible writers, the interviewees consider how different environments have influenced them, how their writing affects environments, and the ways readers experience environments. The interviews are followed by critical responses from writing scholars. This diverse range of voices speaks lucidly and captivatingly about topics such as place, writing, teaching, politics, race, and culture, and how these overlap in many complex ways.

Beyond Postprocess offers a vigorous, provocative discussion of postprocess theory in its contemporary profile. Fueled by something like a fundamental refusal to see writing as self-evident, reducible, and easily explicable, the contributors rethink postprocess, suggesting that there is no easily defined moment or method that could be called postprocess. Instead, each contribution to this collection provides a unique and important example of what work beyond postprocess could be.

Since postprocess theory in writing studies first challenged traditional conceptions of writing and the subject who writes, developments there have continued to push theorists of writing in a number of promising theoretical directions. Spaces for writing have arisen that radically alter ideological notions of space, rational thinking, intellectual property and politics, and epistemologies; and new media, digital, and visual rhetorics have increasingly complicated the scene, as well.

Contributors to Beyond Postprocess reconsider writing and writing studies through posthumanism, ecology, new media, materiality, multimodal and digital writing, institutional critique, and postpedagogy. Through the lively and provocative character of these essays, Beyond Postprocess aims to provide a critical site for nothing less than the broad reevaluation of what it means to study writing today. Its polyvocal considerations and conclusions invest the volume with a unique potential to describe not what that field of study should be, but what it has the capacity to create. The central purpose of Beyond Postprocess is to unleash this creative potential.

Examines the rhetorical role of images in communicating environmental ideas.

How do supporters of the environmental movement manipulate and promote images of nature to achieve support and sympathy? From the Sierra Club's use of Ansel Adams's stark and pristine portraits of the western United States to close-ups of plastic bottles and dead fish floating in Rust Belt waterways, visual depictions of landscapes and the degradation caused by humans have profoundly shaped popular notions of environmentalism and the environment. Despite the rhetorical power of images connected with the environmental movement over the past forty years, scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric. Ecosee offers a deeper and fuller understanding of the communicative strategies and power of the environmental movement by looking closely at the visual rhetorics involved in photographs, paintings, television and filmic images, video games, and other forms of image-based media.

The first book-length study of the relationship between children's literature and ecocriticism.

Today's young children are occupied with numerous activities taking place in settings that are isolated from nature or merely simulations of the earth's natural environment. As a result, unless they receive appropriate nature education, many children may never develop a familiarity with and positive attitudes toward the natural world that are so crucial to its preservation. Wild Things: Children's Culture, Ecocriticism examines the ways in which literature, media, and other cultural forms for young people address nature, place, and ecology.

Studies in children's culture and ecocriticism have been largely separate enterprises; Wild Things is the first book to conjoin the two fields. The book provides scholars and teachers with in-depth discussion of particular texts as well as larger historical patterns and theoretical paradigms. Essays focus on classic literary works such as Charlotte's Web and The Lorax as well as series fiction, nature magazines, environmental music and videos, the Muppets and other Jim Henson productions, and Disney's latest theme park, Animal Kingdom. Affording the reader a return to the wild places of childhood--both real and imagined--Wild Things is a first-class exploration of the dimensions used to teach children about ecological systems and the natural world that surrounds them.

Examines the rhetorical role of images in communicating environmental ideas.

How do supporters of the environmental movement manipulate and promote images of nature to achieve support and sympathy? From the Sierra Club's use of Ansel Adams's stark and pristine portraits of the western United States to close-ups of plastic bottles and dead fish floating in Rust Belt waterways, visual depictions of landscapes and the degradation caused by humans have profoundly shaped popular notions of environmentalism and the environment. Despite the rhetorical power of images connected with the environmental movement over the past forty years, scholarship in environmental communication has focused almost exclusively on verbal rather than visual rhetoric. Ecosee offers a deeper and fuller understanding of the communicative strategies and power of the environmental movement by looking closely at the visual rhetorics involved in photographs, paintings, television and filmic images, video games, and other forms of image-based media.

Leading a burgeoning self-critical moment in composition studies and writing program administration, Postcomposition is a fundamental reconsideration of the field that attempts to shift the focus away from pedagogy and writing subjects and toward writing itself. In this forceful and reasoned critique of many of the primary tenets and widely accepted institutional structures of composition studies, Sidney I. Dobrin delivers a series of shocks to the system meant to disrupt the pedagogical imperative and move beyond the existing limits of the discipline.

Dobrin evaluates the current state of composition studies, underscoring the difference between composition and writing and arguing that the field's focus on the administration of writing students and its historically imposed prohibition on theory greatly limit what can be understood about writing. Instead he envisions a more significant approach to writing, one that questions the field's conservative allegiance to subject and administration and reconsiders writing as spatial and ecological. Using concepts from ecocomposition, spatial theory, network theory, complexity theory, and systems theory, Postcomposition lays the groundwork for a networked theory of writing, and advocates the abandonment of administration as a useful part of the field. He also challenges the usefulness of rhetoric in writing studies, showing how writing exceeds rhetoric.

Postcomposition is a detailed consideration of how posthumanism affects the field's understanding of subjectivity. It also tears at the seams of the contingent labor problem. As he articulates his own frustrations with the conservatism of composition studies and builds on previous critiques of the discipline, Dobrin stages a courageous-and inevitably polemical-intellectual challenge to the entrenched ideas and assumptions that have defined composition studies.