In this study I outline seven characteristics of a traditional Happening (the use of games and play, an inherent intertextual element, an emphasis on place/space, an element/spirit of anarchy, an element of chance, an emphasis on the fusion of art with everyday life, and the existence of both a purpose and a meaning) and seek to determine which characteristics contribute to the Happening's current usage as a rhetorical tool. I created a traditional Happening containing a message of environmental consumption and destruction, and surveyed audience members regarding their interpretation and experience. The survey responses were coded using a top-down narrative analysis. I discovered that intertextuality, place/space, and the fusion of art with everyday life are particularly effective communicators of a message in a socially or politically conscious Happening.

In this thesis I rethink the materiality of rhetoric in a minor key. I review poststructural and psychoanalytic endeavors to position rhetoric from within the postmodern and poststructural critique of the subject. I move beyond the logic of influence (dependent on a flawed conception of object) and hermeneutics (the correspondingly flawed methodology). In this endeavor, I primarily enlist Deleuze and Guattari (1987) for a conceptual apparatus that enlivens the "thinness" of rhetoric's (neo)Aristotelian conceptual design (cf. Gaonkar, 1997a, 1997b). I offer Monster (2003) as a case study, analyzing the discursive expression of nondiscursive abstract machines to draw out the reterritorializations of the latter. Recognizing the impossibility of complete reterritorialization I map one artifact that reinvests difference in itself, Dancer in the Dark (2000). Finally, in the epilogue I provide a brief recapitulation of minor politics, and offer a summarization of the utility of rhetoric.