ENGL 3860: Metaphysical Graffiti Slide Deck

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Publics are spheres that emerge and decay through the entanglement and circulatory coproduction of online and off-line networks. hawk | Public Spheres | 150
The public A public Discursive Publics Counterpublics The public, for Warner, is the imagined social totality of a nation or community that depends on rhetoric as transparent, rational, and deliberative; on institutionally sanctioned genre, speech acts, and speech s i t u a t i o n s ; a n d o n a hierarchy that counts some activities as public and others as private. As a result, certain dominant groups of people are more likely to stand in for the social totality as opposed to others (423). A public, in contrast, is a concrete audience g a t h e r e d a t a particular time and in a particular place whose boundaries are more or less distinct— an audience for a c o n c e r t , p l a y, o r political rally. Discursive publics only come into existence via the circulation of texts. A book, for example, isn’t bounded by space and time in the way that a public is, and its genre and circulation aren’t limited to the public. Instead they e x h i b i t s e v e n p r i m a r y characteristics: they are selforganized, a relation among strangers, both personal and impersonal, constituted through attention, c re a t e d b y t h e reflexive circulation of discourse, s t r u c t u r e d a c c o r d i n g t o temporality, and a product of poetic world making (413). Counterpublics are special cases of discursive publics that are marked by nondominant discursive practices. Because they don’t have access to the public and its forms and forums of speech, they run counter to dominant genres and modes of a d d re s s a n d o f t e n d o n ’t translate into the critical or rational models of the public. Instead, counterpublics might be hostile or indecorous like punk or might participate in the invention of their own discourses like queer counterculture. hawk | Public Spheres | 150
Page 1: P#UB$LICS@ metaPhysical &# Graffiti
Page 5 and 6: Zines are a perfect example of this
Page 7 and 8: Roman Graffiti from Pompeii, c. 70
Page 9 and 10: Yet, what Trimbur’s model does no
Page 11 and 12: Using graffiti as an unruly exempla
Page 13 and 14: S@OME# SPINOZA@ This primacy of aff
Page 15 and 16: The sensation of such a relation, m
Page 17 and 18: Style is that which opens sites for
Page 19 and 20: A writing’s impact may not have t
Page 21 and 22: Style is more than the genre, voice

ENGL 3860: Metaphysical Graffiti Slide Deck

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