This essay argues that the alleged demise of a unified and coherent public in contemporary twentieth‐century American political discourse is more a symptom of how we have visually objectified “the people” than it is a newly discovered fragmentation of the “thing” itself. This claim is developed by examining the emergence of social documentary photojournalism in the 1930s and its ideological implications for American liberal‐democratic rhetorical practices. James Agee and Walker Evans's Let Us Now Praise Famous Men is treated as a representative anecdote that illustrates the problems and possibilities of the tensions between individualism and collectivism that rest at the heart of liberal democracy.
Quarterly Journal of Speech
Volume 83, 1997 - Issue 3
![Sample our Communication Studies journals, sign in here to start your access, 2013 & 2014 volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/5927/TOC-Subject-Sample-2021-Information-Science2.jpg"})
Reprints and Corporate Permissions
Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?
To request a reprint or corporate permissions for this article, please click on the relevant link below:
Academic Permissions
Please note: Selecting permissions does not provide access to the full text of the article, please see our help page How do I view content?
Obtain permissions instantly via Rightslink by clicking on the button below:
If you are unable to obtain permissions via Rightslink, please complete and submit this Permissions form. For more information, please visit our Permissions help page.
Related Research Data
Unruly Arguments: The Body Rhetoric of Earth First!, Act Up, and Queer Nation
Source:
Informa UK Limited
An examination of the ‘power’ of visual images
Source:
SAGE Publications
The Visual Image and the Political Image: A Review of Visual Communication Research in the Field of Political Communication
Source:
Informa UK Limited
Linking provided by
