This essay focuses attention on some of the polysemic and polyvalent dimensions of Spielberg's Saving Private Ryan. The author argues that this film needs to be viewed as an intertextual fragment, where audiences, rhetors, and critics co produce their interpretations of the rhetorical meaning of D-Day and the "Good War" .The essay advances the argument that critical memory studies help us understand how various representations and absences in the film allow for a number of different nostalgic and oppositional readings of the film. Because of the ambiguous nature of this cinematic representation, both supporters and detractors could claim that this was a realistic film that supported their own views on warfare

We used Symbolic Convergence Theory to analyze 2,000 political cartoons on the investigation, impeachment, and trial of the president. The cartoonists' vision incorporates components from Starr's and Clinton's visions: "Our public figures (Clinton, Starr, Congress, the news media) are engaged in a tawdry burlesque drama. "The number of levels in a rhetorical vision depends on the vision's complexity. We show that multiple, independent, rhetors can create a rhetorical vision. These messages, highly visual and generally critical, freely use metaphor and allusions, allowing multiple interpretations and rendering the fantasy themes in these dramas accessible to readers with widely divergent attitudes. Despite their fictionality, these messages concern important issues and make moral judgments on these public figures.

This essay examines hone the narrative structure of the Fox primetime television hit Ally McBeal opens the text to a feminist reading. Despite critics' charges to the contrary, I argue that producer/ screenwriter David E. Kelley's teleplays construct a preferred feminine spectator position that appropriates dominant male gazes in three ways: the feminine setting of the law firm, the refusal of women characters to yield to the male gaze, and the `comic spectacle of maleness. "Ally McBeal's preferred feminine spectatorship stance is articulated through comic strategies in which gender ideals are questioned through mockery, thus opening a safe space for viewers to reject dominant patriarchal meanings and to experience a feminist epistemology.