The terrorizing placement of nooses and Nazi swastikas on U.S. college and university campuses has sustained a climate of fear, trauma, and intimidation. University administration responses often invoke protest from targeted communities over their approach. Examining news reports and university statements between 2010 and 2023, we critique universities' use of the rhetorical framework of "symbols" (e.g., "heinous symbols of hate," "racist symbols"). We argue that the "symbolism" framework reflects and reinforces a problem of minimization, if not dismissal, when responding to the impact of these events. Drawing on works by rhetorical studies scholars like Matsuda, Altman, Butler, and Ore, we argue that nooses and swastikas must be understood and treated in relation to their material, violent, spatial, and agential oppressive power and viewed through the relationship between the academic environment of white Christian spaces and anti-Black and anti-Jewish violence and exclusion. Coining the term, "technologies of violence," we invite a rhetorical shift from hate speech and symbols to acts of violent doing and doing to within the context of historical and contemporary phenomena of systemic racism and antisemitism in academia and society. We offer an anti-racist approach to responding to and studying terroristic objects and acts on campuses.

We assess Mureithi's 2009 documentary, ICYIZERE: hope (Motion Picture, Josiah Films), as a document of representational space and collective memory. We argue that the post-genocide reconciliation workshop represented in the film embodies and constructs a sacred/secular space. The reconciliatory space is produced through (1) negotiations of dialectical tensions between past/present as well as individual/collective memory, and (2) (re) presentations of rehumanization within the workshop whereby participants (and audiences) can (re) interpret the Other. We analyze the rehumanization process in the documentary via identity widening theory (Ellis, D.G., 2006, Transforming conflict: Communication and ethnopolitical conflict. Boulder, CO: Rowman & Littlefield Publishers) and empathetic human interaction. Finally, we detail how the documentary situates participants within a transformative space of negotiated memories of the genocide with current day reconciliation efforts.

This qualitative analysis of transcripts from focus groups with men and women in Tanzania explores how patriarchal power is reflected in labels used to describe individuals who engage (or not) in multiple and concurrent sexual partnerships. Label research and muted group theory provide theoretical frames to assess how sexual network-related labels are used by women and men. The use of power-embedded labels was found to show women’s identities and agency as muted while maintaining gender inequality through language. Ramifications for sexual health interventions developed in contexts undergoing economic development, increasing egalitarianism, and social modernization are discussed.

Guys and Dolls, a BBC documentary premiering in 2007 sketches out the lives of four men in relationships with silicone-fleshed, anatomically correct Real Dolls (RDs). The men in the documentary treat their RDs as if they are alive—they dress their dolls, rub their feet, and discuss what sex and the relationship with their dolls is like. In relating with their RDs, the men respond to concerns of having “no female company” at all. In this essay, combining Stein’s (Sexualities and society: a reader, Polity Press, Oxford, pp 132–142, 2003 ) notion of “be-coming out,” with Deleuze and Guattari’s (A thousand plateaus: capitalism and schizophrenia, University of Minnesota Press, Minneapolis, 1987 ) theory of becoming, we contend that the documentary actively represents the men’s pasts in order to make sense of, justify, and construct the dynamics of their current sexual selves. Because the idollator’s be-coming narratives illuminate their heteronormative shortcomings, these sexual origin stories take a confessional tone. Although confessions regarding sexuality are not soul cleansing acts but are approval seeking performances that reify normative social boundaries, we argue for a queer reading of the Guys and Dolls text which subverts the dominant logic of heteronormativity.

In 2009, the Whitney Gallery of Western Art (WGWA), located within the Buffalo Bill Historical Center (BBHC) in Cody, Wyoming, was redesigned-its art rehung and its vision of the West reimagined. The newly designed gallery replaced the structuring principles of history, artist, and genre that had governed the previous layout and design of the gallery with a thematic structure that elicits a series of affective dissonances. In this essay, we argue that the redesigned Whitney Gallery of Western Art performs a sacred hymn that-in repositioning Buffalo Bill Cody as its orchestrating figure-resolves discordant images and narratives of the West, harmonizes diverse themes into a single vision, and reconstitutes national identity in terms of the Western sublime.

The research collected in this special issue demonstrates that memory is mobilized symbolically and materially, spatially and temporally. It is fully embodied and often works affectively.

In 2009, the Whitney Gallery of Western Art (WGWA), located within the Buffalo Bill Historical Center (BBHC) in Cody, Wyoming, was redesigned—its art rehung and its vision of the West reimagined. The newly designed gallery replaced the structuring principles of history, artist, and genre that had governed the previous layout and design of the gallery with a thematic structure that elicits a series of affective dissonances. In this essay, we argue that the redesigned Whitney Gallery of Western Art performs a sacred hymn that—in repositioning Buffalo Bill Cody as its orchestrating figure—resolves discordant images and narratives of the West, harmonizes diverse themes into a single vision, and reconstitutes national identity in terms of the Western sublime.

Boasting over 6000 objects, including replicas of a western hardware store, a frontier stage stop, and a late nineteenth-century industrial factory, the Cody Firearms Museum, located at the Buffalo Bill Historical Center in Cody, Wyoming, is “the largest and most important collection of American firearms in the world.” 1 The museum, which creates a decidedly visual space through its near-exclusive engagement with looking, employs an aesthetic of domestication and sterility to frame firearms for museumgoers. Even as it transforms guns into inert objects of visual pleasure, the museum cannot fully erase the history of violence and colonial conquering in which guns played a starring role. The museum's rhetorical effectivity/affectivity, then, turns upon the unique play of presence and absence.

One of the challenges in discussion facilitation is creating a climate that allows multiple voices to be heard. Although the practice of calling on students whose hands are not raised has been used to engage the entire class in discussions, many believe that cold calling sabotages the communication climate and makes students extremely uncomfortable. This study examines the impact of cold calling on student comfort and communication climate. The results suggest that when instructors choose to cold-call, they must create a supportive communication climate to ensure student comfort. This study challenges the assumption that cold calling makes students uncomfortable.

SUMMARY This essay uses an academic letter format to address the topic of fatherhood through the personal perspective of a single, middle-aged, multi-ethnic, gay man. After providing auto-ethnographic reflections of childhood and family life, a survey of influential popular cultural texts and academic literature on fatherhood and parenting is provided. Finally, the letter ends with an in depth examination of the international film Bear Cub/Cachorro, along with concluding auto-ethnographic reflections and thoughts on the author's readiness and desire to become a father.

Museums, memorials, and other historic places are key sites in the construction of collective memory and national identity. The Plains Indian Museum in Cody, Wyoming is one such space of memory where the (pre)history of ''America'' and its native peoples is told. Based on the view of texts as experiential landscapes, it is argued that this museum works to absolve Anglo-visitors of the social guilt regarding Western conquest through a rhetoric of reverence. This rhetorical mode invites visitors to adopt a respectful, but distanced observational gaze. A concluding section assesses the social and political consequences of memorializing in this mode.

Museums, memorials, and other historic places are key sites in the construction of collective memory and national identity. The Plains Indian Museum in Cody, Wyoming is one such space of memory where the (pre)history of "America" and its native peoples is told. Based on the view of texts as experiential landscapes, it is argued that this museum works to absolve Anglo-visitors of the social guilt regarding Western conquest through a rhetoric of reverence. This rhetorical mode invites visitors to adopt a respectful, but distanced observational gaze. A concluding section assesses the social and political consequences of memorializing in this mode.

Using an academic letter format, I use a blended-methodological approach of personal ethnography and qualitative case study to assess the three-partner, gay male relationship and the role of parental support. In working to understand better the relational "We 3," I first provide an account of my relational experience with two other men. I discuss the process of our coming together and then make a methodological turn to provide insights from both e-mail and face-to-face interviews with one set of parents who have supported their gay son in his threepartner relationship. As I, personally, have not had an in-depth conversation with my own parents regarding this issue, I use the parental case study to bridge an academic conversation regarding the negotiation of what might be termed a second or relational coming out process with parents. Finally, I discuss how insights from the first, personal coming out process provided the parents with tools to keep the conversation going and to support their son's relational coming out as a "We 3." (C) 2005 by The Haworth Press, Inc. All rights reserved.

Abstract Using an academic letter format, I use a blended-method-ological approach of personal ethnography and qualitative case study to assess the three-partner, gay male relationship and the role of parental support. In working to understand better the relational “We 3,” I first provide an account of my relational experience with two other men. I discuss the process of our coming together and then make a methodological turn to provide insights from both e-mail and face-to-face interviews with one set of parents who have supported their gay son in his three-partner relationship. As I, personally, have not had an in-depth conversation with my own parents regarding this issue, I use the parental case study to bridge an academic conversation regarding the negotiation of what might be termed a second or relational coming out process with parents. Finally, I discuss how insights from the first, personal coming out process provided the parents with tools to keep the conversation going and to support their son's relational coming out as a “We 3.”

Few places tell the myth of the American frontier more vigorously than the Buffalo Bill Museum does in Cody, Wyoming. Traveling to the museum through the 'Western' landscape of Wyoming into the foothills of the Rockies prepares visitors for the tale of Western settlement. This narrative, which works to secure a particular vision of the West, draws upon the material artifacts of Cody's childhood and his exploits as scout, Pony Express rider and showman. The museum retells the story that Cody first told to millions at the turn of the twentieth century in his Wild West arena show. In this paper, we argue that the museum privileges images of masculinity and Whiteness, while using the props, films, and posters of Buffalo Bill's Wild West to carnivalize the violent conflicts between Anglo Americans and Native Americans.

This essay concerns the relationship between popular cinematic visions of the future and present day identity politics. We argue that despite its futuristic setting celebrating technological progress and multiculturalism. Luc Besson's 1997 film The Fifth Element constructs sexual and racial difference in a manner that privileges and naturalizes White heterosexual masculinity. The essay offers counter-imagination as an interpretive practice that destabilizes the categories of sexual and racial difference as they are negotiated within appeals to popular imagination.