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Rhetoric, Meaning, Power, and Communication - Coggle Diagram

- - - - “Affective participation allows marginalized communities to claim space through feeling and connection.” (p. 6)
    - - “Online fandoms organize as global publics, using media to challenge cultural hierarchies.” (p. 127)
    - - “Dominant publics mask the needs of others who lack power.” (p. 291)
- - - - “Media users perform ethics through selective participation.” (p. 10)
    - - "Studying media means understanding how power and culture circulate through systems of production, text, and audience" (p. 6)
    - - “Agency in rhetoric depends on how audiences interpret and respond, not just how messages are made.” (p. 228)
- - - - “Rhetoric is symbolic action — the use of symbols to produce change.” (p. 9)
    - - “Visual forms move people through presence and emotion.” (p. 83)
    - - “Digital bodies can reinforce fantasies of overcoming disability.” (p. 5)
    - - “Representation is power — who gets to appear on screen decides whose stories count.” (p. 34)
- - - - “Media policy is not only about control, but about enabling public participation in communication.” (p. 142)
    - - “Advocacy becomes meaningful when marginalized voices co-create the conversation.” (p. 190)
    - - “Audiences are valuable not for their expression but for their consumption.” (p. 204)
- - - - “Behind every diversity statement is a labor structure that resists actual change.” (p. 37)
    - - “Artistic labor reveals the contradiction between cultural value and economic reward.” (p. 78)
    - - “Counterpublics form through collective work that resists dominant institutions.” (p. 288)
- - - - Edmond – “Careful Consumption”
        
        Edmond (pp. 2–19) — “Audiences translate moral discomfort into careful media choices to align with personal values.” (p. 9)
      - TMST Introduction – “Media as Social Force”
        
        “Studying media means understanding how power and culture circulate through systems of production, text, and audience.” (p. 6)
      - RCL Chapter 8 “Audience and Agency”
        
        Identification is the emotional bond that makes persuasion possible.” (p. 226)
  - - - TMST Industry (pp. 11–25
        
        “Media industries organize creativity through routines that balance art and commerce.” (p. 18)
      - Donoghue Ch. 5 (pp. 195–210)
        
        “Distribution and marketing reinforce a hierarchy that undervalues women-led projects.” (p. 203)
      - Donoghue Ch. 2 (pp. 65–83)
        
        Workers’ creative contributions disappear into the collective output of capital.” (p. 70)
      - Bennett (pp. 32–39)
        
        “Hiring remains centered on existing networks, reproducing the same workforce.” (p. 33)
  - - - TMST Policy & Regulation
        
        “Audiences are not passive consumers; they interpret, remix, and circulate meaning.” (p. 63)
      - James
        
        “Affective participation operates between intimacy and collectivity, where emotion becomes political.” (p. 7)
      - Leksmono & Maharani
        
        “Fans use digital platforms to turn admiration into activism.” (p. 127)
  - - - “Images do rhetorical work by persuading through what they make visible and what they hide.” (p. 83)
    - - “Texts actively construct reality through systems of representation.” (p. 41)
    - - “Digital avatars can reproduce ableist fantasies of transcendence, masking real disability.” (p. 5)
  - - - TMST Policy & Regulation (pp. 135–150)
        
        “Media policy defines who has the right to produce, distribute, and access cultural expression.” (p. 138)
      - Salamon & Xie (pp. 185–193)
        
        “True equality in media industries requires collective advocacy across overlapping systems of oppression.” (p. 189)
      - RCL Ch. 10 (pp. 283–292)
        
        Counterpublics form when excluded groups create spaces to challenge dominant discourse.” (p. 288)