Discourse analysis.

I believe art can offer an antidote to our numbness and rekindle a sense of childlike
wonder. Reclaiming Wonder is an installation in which I aim to explore the
possibility of evoking the curiosity of childhood in the viewer’s mind and transporting
him or her into a dreamlike atmosphere to wander about in wonder through the use of the
senses of sight, touch, and hearing.

This purpose of this study is to investigate the apologetic rhetoric of professional
athletes’ off-field scandals. The three case studies used were Tiger Woods, Kobe Bryant,
and Michael Phelps. A genre analysis was conducted to determine the success or failure
of the speech by examining the image repair strategies used during the rhetoric.
Further research revealed that the audiences’ perception plays a large role in
determining if the rhetoric was successful or not. Two factors that aid the audience are
the medium in which the public address was given, and the time it took to deliver the
speech once the off-field scandal took place.
The findings determined that Tiger Woods apologia was not successful, while
Kobe Bryant’s was successful. The rhetoric of Michael Phelps’ speech lacked in delivery
and strategies chosen. To have a successful apologia, one should have a clear use of
strategies as well as a timely public address.

In Richard II, Shakespeare left lessons for us on the effects of speech acts by leaders on the public stage. The "I" in Richard's speeches is always new: "Thus play I in one person many people" (5.5.31). Recent theories of pardons and promises made in the public sphere call attention to the layers of voices, heretofore hidden, in the first-person utterances of Richard as he attempts to interrupt the rush of history toward vengeance. Employing speech-act theory, we discover today that Shakespeare lets each utterance create a new voice and history for England. Shakespeare gives Richard time to begin to speak and study the world that each "I" utterance produces. The play, known for its rich language, reveals even more voices behind the public face of a king about to die: a confessor, a subject, a prisoner, a Christian, a husband, and a soldier. In every syllable spoken as first-person speaker, Richard moves the audience in images of mirrors and music through a drama of attempts to study a life.