UNDERSTANDING PEOPLE'S ADOPTION OF INDIVIDUAL-USE RENEWABLE ENERGY TECHNOLOGY

This thesis attempts to understand why people adopt or reject individual-use renewable energy technologies (IURET). I used factors from Everett Rogers' Diffusion of Innovation Theory to understand how people's perceptions towards the characteristics of a given IURET (such as price, compatibility, complexity, etc.), the characteristics of the individual adopter (such as innovativeness and environmental awareness), and the communication network (inter-personal communications and mass media) can influence adoption. An online questionnaire was sent to 101randomly selected Michigan households (using random digit dialing) to ask people whether or not they had adopted at least one IURET and to assess the above-mentioned factors from Rogers' theory. Data analysis was then conducted in SPSS using Chi-squared and binary logistic regression to determine the relationship between adoption behaviors (the dependent variable) and the factors from Rogers' theory (the independent variables) while controlling for education. The results show that Rogers' factors of price and observability and the control variable of education were all significant in explaining adoption but the other factors of Rogers' theory were not. For example, if individuals perceive the price of IURET to be reasonable or if they observe their neighbors using these technologies, then they are more likely to adopt. These results indicate that, if we want to promote greater adoption of IURET, we should focus our efforts on making the price of IURET more affordable through incentives and other mechanisms. Adopters should also be given some form of reward if they provide free demonstrations of their IURET in use to their neighbors to take advantage of the observability effects.

BUILDING A DISCOURSE: BRIDGING THE GAP BETWEEN NEW MEDIA'S CONVERGENCE AND RHETORIC AND COMPOSITION'S MULTIMODALITY

My dissertation emphasizes the use of narrative structuralism and narrative theories about storytelling in order to build a discourse between the fields of New Media and Rhetoric and Composition. Propp's morphological analysis and the breaking down of stories into component pieces aides in the discussion of storytelling as it appears in and is mediated by digital and computer technologies. New Media and Rhetoric and Composition are aided by shared concerns for textual production and consumption. In using the notion of "kairotic reading" (KR), I show the interconnectedness and interdisciplinarity required in the development of pedagogy utilized to teach students to develop into reflective practitioners that are aware of their rhetorical surroundings and can made sound judgments concerning their own message generation and consumption in the workplace. KR is a transferable skill that is beneficial to students and teachers alike. The dissertation research utilizes theories of New Media and New Media-influenced practitioners, including Jenkins' theory of convergence, Bourdieu's notion of taste, Gee's term "semiotic domains," and Manovich's "modification." These theoretical pieces are combined in order to show how KR can be extended by convergent narrative practices. In order to build connections with New Media, the consideration and inclusion of Kress and van Leeuwen's multimodality, Selber's "reflective practitioners," and Selfe's definition of multimodal composing allow for a greater establishment of conversation order to create a richer conversation around the implications of metacognitive development and practitioner reflexivity with scholars in New Media. My research also includes analysis of two popular media franchises Deborah Harkness' A Discovery of Witches and Fox's Bones television series to show similarities and differences among convergence-linked and multimodal narratives. Lastly, I also provide example assignments that can be taken, further developed, and utilized in classrooms engaging in multimodal composing practices. This dissertation pushes consideration of New Media into the work already being performed by those in Rhetoric and Composition.

Veteranness : Representations of Combat-related PTSD in U.S. Popular Visual Media

Posttraumatic stress and PTSD are becoming familiar terms to refer to what we often call the invisible wounds of war, yet these are recent additions to a popular discourse in which images of and ideas about combat-affected veterans have long circulated. A legacy of ideas about combat veterans and war trauma thus intersects with more recent clinical information about PTSD to become part of a discourse of visual media that has defined and continues to redefine veteran for popular audiences. In this dissertation I examine realist combat veteran representations in selected films and other visual media from three periods: during and after World Wars I and II (James Allen from I Am a Fugitive from a Chain Gang, Fred Derry and Al Stephenson from The Best Years of Our Lives); after the Vietnam War (Michael from The Deer Hunter, Eriksson from Casualties of War), and post 9/11 (Will James from The Hurt Locker, a collection of veterans from Wartorn: 1861-2010.) Employing a theoretical framework informed by visual media studies, Barthes’ concept of myth, and Foucault’s concept ofdiscursive unity, I analyze how these veteran representations are endowed with PTSD symptom-like behaviors and responses that seem reasonable and natural within the narrative arc. I contend that veteran myths appear through each veteran representation as the narrative develops and resolves. I argue that these veteran myths are many and varied but that they crystallize in a dominant veteran discourse, a discursive unity that I term veteranness. I further argue that veteranness entangles discrete categories such as veteran, combat veteran, and PTSD with veteran myths, often tying dominant discourse about combat-related PTSD to outdated or outmoded notions that significantly affect our attitudes about and treatment of veterans. A basic premise of my research is that unless and until we learn about the lasting effects of the trauma inherent to combat, we hinder our ability to fulfill our responsibilities to war veterans. A society that limits its understanding of posttraumatic stress, PTSD and post-war experiences of actual veterans affected by war trauma to veteranness or veteran myths risks normalizing or naturalizing an unexamined set of sociocultural expectations of all veterans, rendering them voice-less, invisible, and, ultimately disposable.

THE CELEBRITY BURDEN: CELEBRITY CAMPAIGNS IN THE PURSUIT OF HUMANITARIANISM

Celebrity participation in humanitarianism and politics has received a lot of attention in recent times. Though many researchers have sought to explain the reasons underlying this phenomenon, there appears to be little information as to the efficacy of these celebrity efforts. The present research thus undertakes an analysis of the celebrity's participation through a study on the effectiveness of the celebrity-led campaign. To achieve this, I conduct a discourse and visual analysis of media publications surrounding two celebrity-led campaigns. The research leans heavy on theories underlining the celebrity mechanism and Street et al's framework on celebrity participation in politics. The study confirms Street et al's argument that performance, legitimacy and organization are central to the success of the celebrity-led campaign. For campaigns aimed at initiating policy change, I propose an additional category of stakeholders' response which provides a means of evaluating efficacy. My findings show that organization, legitimization, stakeholders' response and performance are highly dependent on the actions of the lead celebrity, making these celebrities active agents in the production of discourse on the "third world". As celebrities engage in humanitarian work, they take up positions as representatives of the aid recipient. The result is the dispossession and silencing of the aid recipient. Out of my discussion of these practices evolves the concept of the celebrity burden.