Existent scholarship in communication studies has failed to adequately address the particular pedagogical context of current public secondary education within the United States. While communication studies has produced a great deal of scholarship centered within the framework of critical pedagogy, these efforts fail to offer public high school teachers in the U.S. a tenable alternative to standardized constructs of educational communication. This thesis addresses the need for a workable, critical pedagogy in this particular educational context as a specific question of educational communication. a theorization of pedagogical action drawing from critical pedagogy, pragmatism, and communication studies termed “critical pragmatism” is offered as an effective, critical counter point to current neoliberal classroom practices in U.S. public secondary schools.

This paper investigates the role of tattoo removal in postmodernity. Specifically, I suggest tattoo removal is a technology of self in which the tattooed person can attain absolution from a "sinful" tattoo. This paper explores the construction of the confessional act in two parts: the construction of the confessing subject and the construction of the medical clinic as the confessor's listener. Using the texts medical offices place on the internet to advertise their services, I investigate the text's interpellation of subjects desiring tattoo removal. I then examine the construction of the clinic's status in the confessional act. Websites and brochures on gang tattoo removal provide a dialogue in which the clinic negotiates and attains its powerful position in the confessional act. The paper concludes by investigating the implications of the tattoo remnant, the material effects of the technology of self, and the benefits of studying the body-skin in rhetoric.

In my study, I examine if and how Sandra Oh’s portrayal of Dr. Cristina Yang in Grey’s Anatomy, a primetime network drama, reifies or resists U.S. mediated stereotypes of Asian American females. I situate my intercultural study in an interpretive paradigm because I am want to explore how the evolving characteristics of existing the Asian American female mediated stereotype as they influence Asian American female identity. Additionally, I trace the historical development of Asian and Asian American stereotypes yellow peril to the model minority; and from Dragon Lady, Lotus Blossom, Geisha, and Suzie Wong. From my textual analysis, I suggest that when portrayals simultaneously reify and resist characteristics of existing Asian American stereotypes, they may help to breakdown perceived binaries of existing Asian and Asian American stereotypes.

Answering the call to decenter whiteness and coloniality within communication studies (#RhetoricSoWhite), this project attempts to reclaim space for indigenous knowledge and to serve decolonial struggles. Written as a project of love for my fellow indigenous scholars and peoples, I expand upon Tiara Na'puti's conceptualization of "Indigeneity as Analytic" and chart how indigenous Pacific Island decolonial resistance operates through a paradigm of decolonial futurity. By recognizing Guåhan (Guam), as well as Chamoru, bodies as (de)colonial borderlands, I demonstrate the radical potential of indigeneity through three different case studies. First, I name indigenous feminine style as a strategic mode of public address adopted by Governor Lou Leon Guerero to resist the spread of COVID-19 by US military personnel on the island of Guåhan. Second, I showcase how the process and practice of indigenous Pacific Island tattooing delinks away from coloniality. Finally, I demonstrate how the celebration of a Chamoru saint, Santa Marian Kamalen, provides a spatial-temporal intervention that articulates an indigenous religion and enacts a decolonial futurity.

In this essay, I examined the significance of graphic novels as polyvalent texts that hold the potential for creating an aesthetic sense of flow for readers and consumers. In building a justification for the rhetorical examination of comic book culture, I looked at Kenneth Burke's critique of art under capitalism in order to explore the dimensions between comic book creation, distribution, consumption, and reaction from fandom. I also examined Victor Turner's theoretical scope of flow, as an aesthetic related to ritual, communitas, and the liminoid. I analyzed the graphic novels Green Lantern: Rebirth and Y: The Last Man as case studies toward the rhetorical significance of retroactive continuity and the somatic potential of comic books to serve as equipment for living. These conclusions lay groundwork for multiple directions of future research.