University of Colorado at Denver and Health Sciences Center
Department of Communication
Critical Analysis of Communication
CMMU 4022/5022
Fall, 2007
MW 4:00-5:15
WC 140
PROFESSOR
Dr. Sonja K. Foss
Office: 102-E Plaza Building
Office Hours: Unless I have a meeting or other obligation, I usually can be found in my office most of
the day on Mondays, Wednesdays, and Thursdays. I will try hard to keep these office hours:
Mondays, Wednesdays, and Thursdays, 1:30-4:00
Telephone: 303-556-5526 (office); 303-355-5320 (home)
Fax: 303-355-6325
E-mail: Sonja.Foss@ucdenver.edu
Department Web site: http://communication.cudenver.edu
For more information about who I am, see the end of the syllabus or my Web site: SonjaFoss.com
COURSE DESCRIPTION AND OBJECTIVES
This course surveys research methods used to analyze messages from rhetorical and critical
perspectives. The objectives of the course are:
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To introduce students to the process of rhetorical criticism and to develop an appreciation for its
value in personal and professional life.
To study and practice a variety of critical approaches and to use them to uncover the nature and
function of messages of various kinds.
To develop the capacity for independent, reflective thought.
To foster a healthy sense of skepticism toward the many messages that influence our worldviews,
behaviors, and choices on a daily basis.
To develop excellence in argumentative writing.
DEPARTMENT MISSION
Developing skills in critical analysis enables us to understand the nature of the worlds we create and in
which we participate through symbols so that we can make more conscious choices about these worlds.
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The Communication Department's mission is to create a learning environment in which students
develop the skills, knowledge, and abilities necessary to use communication to create a more civil
and humane world. I hope that the skills you develop in this class are used to contribute to such a
world.
TEXTBOOK
The textbook for the course is Rhetorical Criticism: Exploration & Practice, 3rd ed., by Sonja K.
Foss. Reading assignments are indicated on the course schedule at the end of the syllabus.
ACTIVITIES
Short essays of criticism (undergraduate and graduate students):
These are essays approximately 4-5 pages long in which you will analyze artifacts of your
choice using the methods of criticism covered in class: cluster, fantasy-theme, generic,
ideological, metaphor, and pentadic. The due dates for the essays are marked on the schedule
at the end of the syllabus.
Undergraduate students will write their essays in groups, triads, or pairs. All individuals in a
group, pair, or triad will receive the same grade on the essays. Graduate students may write
their short essays individually or in groups, triads, or pairs.
At the end of each essay of criticism written with others, please specify the contribution made
by each person in the group to that essay. For example, you might say something like, “We all
decided on the analysis, Tony wrote the introduction and conclusion, Juan wrote the first two
sections of the analysis, Amber wrote the third and fourth sections of the analysis, and Lola
edited the whole paper” or “We all discussed and developed our analysis, and Jane wrote the
paper.” Be sure to split up the responsibilities so that everyone contributes approximately the
same amount (but not necessarily the same kind) of work over the course of the semester.
If a student is not contributing appropriately to a group’s essays, it is the group’s responsibility
to deal with the student. A low-performing student may be voted out of a group by a majority
vote of the other group members. If this happens, that individual must find another group to
which to belong or will have to write his or her essays of criticism alone. A group that wants to
vote out a member should see me, and I will work with the group to make arrangements for the
student to exit the group.
You are encouraged to select different kinds of artifacts to analyze in your essays—campaign
literature, speeches, works of art, songs, restaurants, poems, short stories, films, music,
advertisements, memos, architecture, fashion, interior design, etc.—to give you practice in
dealing with different kinds of symbolic experiences. Another very different option—but
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equally valuable—is to write all of your essays on the same artifact, which clearly points out
the different kinds of conclusions that various methods produce. Americanrhetoric.com is a
Web site of rhetorical artifacts of all kinds that you might want to consult if you need ideas for
artifacts to analyze.
The essays of criticism will be given two grades—one for content and one for form. Attention
should be paid to form (including grammar, punctuation, spelling, and general appearance) as
well as to content because, in rhetorical criticism, how you write is part of the process of
supporting your claims. Your grade for the essay will be determined by combining the content
and form grades—the content grade will count for ¾ of the grade, and the form grade will
count for ¼.
Long essay of criticism (graduate students only):
This is an essay approximately 12-15 pages long using the generative method of criticism. We
will meet together to cover generative criticism while undergraduates are meeting to work on
their essays during regular class time on these dates: Wednesday, Sept. 19; Wednesday, Oct.
3; Monday, Nov. 5; and Monday, Nov. 26. This essay must be solo authored. This essay is
due on Wednesday, Dec. 5, by 5:30 p.m.
Oral presentation of generative essay (graduate students only):
A summary of the generative essay of criticism in an 8-minute presentation that is lively,
informative, and embodies the principles of excellent oral communication. This presentation
will be given on Wednesday, Dec. 5.
Notes on sample essays of criticism (undergraduate and graduate students):
Read the sample essay assigned for the unit and take notes on it. (The page numbers of the
essay on which you should take notes are indicated on the course schedule near the end of the
syllabus.) This assignment will be done individually—not in groups. This assignment is
designed to encourage you to engage other essays of criticism and to use them as models for
writing your own essays. Your notes should consist of answers to the following questions
about the essay. You do not need to write in complete sentences to answer the questions, and
you may take notes either on the computer or in longhand.
 What does the critic want to find out by analyzing the artifact, data, or text? In other
words, what is the research question the critic is asking?
 What are the data being analyzed?
 What are the primary elements, dimensions, or characteristics of the data or text that the
analysis identifies?
 What can I learn about rhetoric or communication from this essay?
 What is particularly useful for me in this essay for writing my own essays of criticism?
 Is there something that doesn’t make sense to me in this essay?
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The notes on the essays are due on the first day of each unit on a method of criticism. They
must be submitted by the start of class on this day; late notes will not be accepted because the
point of taking notes on a sample essay is to help you prepare for the introduction to each
method. The due dates are included on the schedule at the end of the syllabus. Notes will be
given a grade of check or minus. Notes that receive grades of minus must be re-written in
order for them to count as meeting the requirements for the assignment.
GRADING: UNDERGRADUATE STUDENTS
You select the grade you want to achieve in the course and are then required to meet the requirements
for that particular grade.
To receive a grade of A, you must complete:
 6 essays of criticism using the six methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic. You must earn grades of at least an A- on 4
of the essays and at least a B on the other 2 essays.
 Completion of notes on the 6 assigned sample essays
To receive a grade of A-, you must complete:
 6 essays of criticism using the six methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic. You must earn grades of at least an A- on 4
of the essays and at least a B on the other 2 essays
 Completion of notes on 5 of the assigned sample essays (you may choose which one to
skip)
To receive a grade of B+, you must complete:
 6 essays of criticism using the six methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic. You must earn grades of at least an A- on 3
of the essays and at least a B on the other 3 essays.
 Completion of notes on 4 of the assigned sample essays.
To receive a grade of B, you must complete:
 5 essays of criticism using 5 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which one to skip). You
must earn grades of at least a B on 4 of the essays and at least a C on the other essay.
 Completion of notes on 5 assigned sample essays (you may choose which one to skip)
To receive a grade of B-, you must complete:
 5 essays of criticism using 5 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which one to skip). You
must earn grades of at least a B on 4 of the essays and at least a C on the other essay.
 Completion of notes on 4 of the assigned sample essays (you may choose which ones to
skip)
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To receive a grade of C+, you must complete:
 5 essays of criticism using 5 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which one to skip). You
must earn grades of at least a B on 3 of the essays and a C on the other 2 essays.
 Completion of notes on 3 assigned sample essays (you may choose which ones to skip).
To receive a grade of C, you must complete:
 4 essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which ones to skip). You
must earn grades of at least a B on 2 of the essays and at least a C on the other 2 essays.
 Completion of notes on 4 assigned sample essays (you may choose which ones to skip)
To receive a grade of C-, you must complete:
 4 essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which ones to skip). You
must earn grades of at least a B on 2 of the essays and at least a C on the other 2 essays.
 Completion of notes on 3 assigned sample essays (you may choose which ones to skip)
To receive a grade of D+, you must complete:
 4 essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which ones to skip). You
must earn grades of at least a B on one of the essays and at least a C on the other 3 essays.
 Completion of notes on 2 assigned sample essays (you may choose which ones to skip)
To receive a grade of D, you must complete:
 3 essays of criticism, using 3 of the 6 methods covered in class: cluster, fantasy-theme,
generic, ideological, metaphor, and pentadic (you may choose which ones to skip). You
must earn grades of at least a C on 2 of the essays and at least a D on the other essay.
 Completion of notes on 3 assigned sample essays (you may choose which ones to skip).
GRADING: GRADUATE STUDENTS
You select the grade you want to achieve in the course and are then required to meet the requirements
for that particular grade.
To receive a grade of A, you must complete:
 4 short essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasytheme, generic, ideological, metaphor, and pentadic (you may choose which ones to skip).
You must earn grades of at least an A- on 2 of the essays and a grade of B+ on the other 2
essays.
 Completion of notes on the 6 assigned sample essays.
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Completion of the long essay of criticism using generative criticism. You must earn a
grade of at least an A- on this essay. Note: Because it is due on the last day of the
semester, you will not be able to re-write this essay.
Completion of an oral presentation on the basis of your long essay of criticism. You must
earn a grade of at least a B+ on this presentation. You will not be able to re-do this
presentation if you do not achieve this grade because it is given on the last day of class.
To receive a grade of A-, you must complete:
 4 short essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasytheme, generic, ideological, metaphor, and pentadic (you may choose which ones to skip).
You must earn grades of at least an A- on 2 of the essays and a grade of B+ on the other 2
essays.
 Completion of notes on the 6 assigned sample essays.
 Completion of the long essay of criticism using generative criticism. You must earn a
grade of at least a B+ on this essay.
 Completion of an oral presentation on the basis of your long essay of criticism. You must
earn a grade of at least a B+ on this presentation.
To receive a grade of B+, you must complete:
 4 short essays of criticism, using 4 of the 6 methods covered in class: cluster, fantasytheme, generic, ideological, metaphor, and pentadic (you may choose which ones to skip).
You must earn grades of at least a B+ on 2 of the essays and a grade of B on the other 2
essays.
 Completion of notes on 5 assigned sample essays (you may choose which ones to skip).
 Completion of the long essay of criticism using generative criticism. You must earn a
grade of at least a B on this essay.
 Completion of an oral presentation on the basis of your long essay of criticism. You must
earn a grade of at least a B on this presentation.
To receive a grade of B, you must complete:
 3 short essays of criticism, using 3 of the 6 methods covered in class: cluster, fantasytheme,. Generic, ideological, metaphor, and pentadic (you may choose which ones to skip).
You must earn grades of at least a B+ on one of the essays and a grade of B on the other 2
essays.
 Completion of notes on 4 assigned sample essays (you may choose which ones to skip).
 Completion of the long essay of criticism using generative criticism. You must earn a
grade of at least a B- on this essay.
 Completion of an oral presentation on the basis of your long essay of criticism. You must
earn a grade of at least a B on this presentation.
GRADING POLICIES: UNDERGRADUATE AND GRADUATE STUDENTS
1. If your essays of criticism do not meet the requirements for the grade you are trying to achieve in
the course, you may re-write the essays once to bring up your content or form grade or both (except
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for the long essays of criticism by graduate students and all of the pentadic essays of criticism
because they are due too late in the semester for re-writing).
2. If you are writing an essay with others, please indicate at the end of the re-written essay how the
group members divided up the responsibility for the re-writing. When you submit the re-written
essay, please attach the original essay. I encourage you to re-write essays as soon as possible after
the original essay was written, but re-written essays are due no later than Monday, December 10,
by midnight (please e-mail them to me).
3. If the number of assignments you have completed and the grades you have earned do not fall
precisely into one of the above categories (for example, you write 6 essays of criticism and earn the
appropriate grades for an A on those essays but only complete notes on 3 sample essays), you will
be given the highest grade for which you have fulfilled all requirements. In this case, then, you
would receive a grade of C+ because that is the highest grade for which you have met all of the
requirements.
4. In the grading rubric, the grades that must be met to have an assignment count are the precise
grades delineated. A grade of B-, for example, will not count as having met the requirement for a
B grade.
5. Students within one group may choose to earn different grades. For example, one student may
choose to work with the group to write 6 essays of criticism, while another may choose to write
only 5 essays of criticism with the group. These students would earn different final grades as
outlined in the grading rubric.
6. Essays not turned in on the day they are due (by midnight—they may be e-mailed to me) will be
given one grade lower than the one deserved. For example, an "A" paper submitted late will be
given a "B" grade. If you are ill or encounter some other documentable emergency that prevents
you from turning an assignment in on time, please notify me before the paper is due, and it will not
be counted late.
7. Communication Department’s Policy on Incomplete Grades: Incomplete grades are not given to
students simply because they are receiving lower grades than they would like. To be eligible for an
incomplete grade, students must have completed 75% of the course assignments with passing
grades and have special circumstances outside of their control that preclude completion of the
course. The incomplete grade that will be given if the above conditions are met is an IF, which
means that if the student does not complete the work for the course within 12 months, the grade
reverts to an F.
The Communication Department’s policy is consistent with the CLAS Policy on Incomplete
Grades, and the additional restrictions laid out in the CLAS policy apply to this class: Incomplete
grades (IF or IW) are not granted for low academic performance. To be eligible for an Incomplete
grade, students must (1) successfully complete a minimum of 75% of the course; (2) have special
circumstances beyond their control that preclude them from attending class and completing graded
assignments; and (3) make arrangements to complete missing assignments with the original
instructor. Verification of special circumstances is required. Incomplete grades cannot be
awarded that stipulate: (1) a student may repeat the entire course; (2) repeat or replace existing
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grades; (3) allow the student an indeterminate period of time to complete a course; or (4) allow the
student to repeat the course with a different instructor. Completion of a CLAS Course Completion
Agreement from is strongly suggested; these forms are available from the CLAS Advising Office
in NC 2024.
8. Extra credit is not available in this class.
COURSE POLICIES
1. Essays submitted to the instructor must be typed and double spaced.
2. Academic Honesty: Plagiarism and cheating will not be tolerated and will lead to possible
dismissal from the University. You are responsible for being attentive to or observant of campus
policies about academic honesty as stated in the University’s Student Conduct Code.
3. Attendance: This is a class in which I give you primary responsibility for your learning. You may
choose to work on your essays with your group members however, whenever, and wherever you
choose. Thus, undergraduate students are expected to be in class only on the first day of each unit
when we discuss a new method and work with the method in a class analysis of an artifact. Please
attend these sessions even for those methods you are not applying in your own essays of criticism.
Undergraduates also are required to attend the final session of the class on Wednesday, December
5, to hear the presentations of the graduate students. Graduate students are expected to be in class
on the first day of each unit when we discuss a new method, on the dates when we discuss
generative criticism (Sept. 19, Oct. 3, Nov. 5, and Nov. 26), and on the final day of class for their
presentations.
4. Religious holiday accommodations: I will provide reasonable accommodations to students because
of religious holidays. Please identify all course conflicts because of religious holidays to me at the
beginning of the semester, and we will work out alternative due dates for assignments.
5. If you have a disability that must be accommodated in this class, please let me know at the
beginning of the semester. For such accommodations, you must be registered with the UCDHSC
Office of Disability Resources and Services (DRS), Arts Building, Room 177, 303-556-3345. If
you choose not to accept the accommodations set forth by the DRS, you must complete all
assignments and do all course work in the same manner as the other students.
6. Electronic devices with audible signals such as pagers and cell phones should be turned off during
class.
7. Portfolio assignments: Some of you may have the opportunity to take the Department’s capstone
course (CMMU 4688 Senior Seminar: Transitioning from College to Career) before you complete
your degree. In the capstone course, you will be asked to put together a communication
portfolio—a compilation of the major projects completed in your communication courses. Major
projects are things like literature reviews, position papers, rhetorical analyses, Web sites you’ve
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designed, communication journals, and the like. The possibility that you may one day take our
capstone course means that you should keep the essays of criticism you complete in this course.
Even if you have no intention of taking the Department’s capstone course, a communication
portfolio is a valuable asset to have once you graduate and begin looking for a job. Save the essays
of criticism you write in this class for possible writing samples in a communication portfolio.
ACADEMIC CALENDAR Dates and Deadlines Fall 2007
Students are responsible to abide by these deadlines.
If your name is not on the official class roster, you are not officially registered in the course.
Students must use their official e-mail address on record; communication regarding registration will be sent via e-mail to
students during the registration period.
April 2 Registration begins. Before registration, all students must pay a $200 registration advance payment. This $200
will be applied to your tuition and fees. Students can register on or after their assigned time.
Apply for fall graduation. See your advisor.
August 20
First day of fall semester classes. Faculty/staff may register. Last day to petition residency.
August 26 LAST DAY TO: Add courses using S.M.A.R.T web registration. - NOTE: If your name is not on the
official class roster, you are not officially registered in the course. Last day to be added to the wait-list of a course.
August 27 Last day to drop a course without a drop charge of $100.
August 28
First day instructor may approve request to add a student to a full course using a Schedule Adjustment Form.
August 31 Between August 31 and September 5: Drops using S.M.A.R.T. permitted. Drops charges apply.
Full-term courses may be added using a Schedule Adjustment Form with instructor’s approval. Late starting module or
intensive courses may be added using a Schedule Adjustment Form up until the first day of the class. After that, those
courses may be added with instructor’s permission. Independent study, internship, thesis, and dissertation credit may be
added with required signature approvals using a Special Processing Form.
September 3 Labor Day Holiday – campus closed.
September 5 LAST DAY TO DROP - By 5:00 PM CENSUS DATE
DROP full-term courses with tuition adjustment. Drop charges apply. After this date, dropped courses require
instructor’s approval and will appear on your transcript. Add full term courses (except thesis, independent study and
internships). After this date, student will be charged the full tuition amount for additional course(s) added. College
Opportunity Fund hours will not be deducted from eligible student’s lifetime hours.
Withdraw from the term: After this date, complete withdrawal (all courses dropped) requires the signature of your dean
using a Schedule Adjustment Form (no tuition adjustment). Signature of financial aid required if student has financial aid
(loans, grants, or scholarships).
Request a No Credit grade for a course.
Request a Pass/Fail grade for a course.
Register as candidate for degree.
Last day to apply for fall graduation.
Petition for reduction in dissertation hours.
Submit faculty/staff waiver forms.
October 29 Last day to drop or withdraw without a petition and special approval from student's dean.
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November 19-25 Fall break. Campus closed on Thanksgiving Day.
December 1 Last day to authorize for College Opportunity Fund (COF) via S.M.A.R.T. Students may continue to
authorize through finals at the Registrar’s Office.
December 10-15 Finals Week.
December 15 End of semester.
December 24 Fall Final grades available on S.M.A.R.T.
COURSE SCHEDULE
Mon., Aug. 20
Introduction to the class and to one another
Wed., Aug. 22
Introduction to rhetorical criticism
READING: Chapters 1 and 2 (pages 3-24)
Mon., Aug. 27
Cluster criticism
Introduction to method
Class analysis of artifact
READING: Chapter 4 (pages 69-108)
DUE: Notes on sample essay of criticism, pages 101-07
Wed., Aug. 29
Divide into groups
Cluster criticism
Work in groups on essay of cluster criticism
BRING TO CLASS: Artifact your group could analyze for your essay of cluster
criticism
Mon., Sept. 3
Labor Day: No class
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Wed., Sept. 5
Cluster criticism
Work in groups on essay of cluster criticism
Mon., Sept. 10
Cluster criticism
Work in groups on essay of cluster criticism
Wed., Sept. 12
Fantasy-theme criticism
Introduction to method
Class analysis of artifact
READING: Chapter 5 (pages 109-49)
DUE: Notes on sample essay of criticism, pages 136-39
Mon., Sept. 17
Fantasy-theme criticism
Work in groups on essays of fantasy-theme criticism
BRING TO CLASS: Artifact you could analyze for your essay of fantasy-theme
criticism
DUE: Essay of cluster criticism
Wed., Sept. 19
Fantasy-theme criticism
Work in groups on essays of fantasy-theme criticism
GRADUATE STUDENTS: Meet to discuss generative criticism
Mon., Sept. 24
Fantasy-theme criticism
Work in groups on essays of fantasy-theme criticism
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Wed., Sept. 26
Generic criticism
Introduction to method
Class analysis of artifact
READING: Chapter 7 (pages 193-238)
DUE: Notes on sample essay of criticism, pages 205-11
Mon., Oct. 1
Generic criticism
Work in groups on essays of generic criticism
BRING TO CLASS: Artifacts you could analyze for your essay of generic
criticism
DUE: Essay of fantasy-theme criticism
Wed., Oct. 3
Generic criticism
Work in groups on essays of generic criticism
GRADUATE STUDENTS: Meet to discuss generative criticism
Mon., Oct. 8
Generic criticism
Work in groups on essays of generic criticism
Wed., Oct. 10
Ideological criticism
Introduction to method
Class analysis of artifact
READING: Chapter 8 (pages 239-97).
DUE: Notes on sample essay of criticism, pages 272-79
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Mon., Oct. 15
Ideological criticism
Work in groups on essays of ideological criticism
BRING TO CLASS: Artifact you could analyze for your essay of ideological
criticism
DUE: Essay of generic criticism
Wed., Oct. 17
Ideological criticism
Work in groups on essays of ideological criticism
(Professor will be in China—please e-mail her if you have questions as you
work through your analysis)
Mon., Oct. 22
Ideological criticism
Work in groups on essays of ideological criticism
(Professor will be in China—please e-mail her if you have questions as you
work through your analysis)
Wed., Oct. 24
Ideological criticism
Work in groups on essays of ideological criticism
(Professor will be in China—please e-mail her if you have questions as you
work through your analysis)
Mon., Oct. 29
Metaphor criticism
Introduction to method
Class analysis of artifact
READING: Chapter 9 (pages 299-332)
DUE: Notes on sample essay of criticism, pages 325-28
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Wed., Oct. 31
Metaphor criticism
Work in groups on essays of metaphor criticism
BRING TO CLASS: Artifact you could analyze for your essay of metaphor
criticism
DUE: Essay of ideological criticism
Mon., Nov. 5
Metaphor criticism
Work in groups on essays of metaphor criticism
GRADUATE STUDENTS: Meet to discuss generative criticism
Wed., Nov. 7
Metaphor criticism
Work in groups on essays of metaphor criticism
Mon., Nov. 12
Pentadic criticism
Introduction to method
Class analysis of artifact
READING: Chapter 11 (pages 383-410)
DUE: Notes on sample essay of criticism, pages 383-410
Wed., Nov. 14
Pentadic criticism
Work in groups on essays of metaphor criticism
(Professor will be attending the National Communication Association
convention in Chicago)
BRING TO CLASS: Artifact you could analyze for your essay of pentadic
criticism
Mon., Nov. 19
No class: Fall break and Thanksgiving
Wed., Nov. 21
No class: Fall break and Thanksgiving
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Mon., Nov. 26
Pentadic criticism
Work in groups on essays of pentadic criticism
DUE: Essay of metaphor criticism
GRADUATE STUDENTS: Meet to discuss generative criticism
Mon., Dec. 3
Pentadic criticism
Work in groups on essays of pentadic criticism
Wed., Dec. 5
Presentations by graduate students on essays of generative criticism
(Undergraduate students required to attend)
DUE: Essays of generative criticism by graduate students (by 5:30 p.m.)
Mon., Dec. 10
DUE (by midnight):
 Essay of pentadic criticism
 Re-writes of earlier essays
ABOUT YOUR PROFESSOR: SONJA K. FOSS
EDUCATION
Ph.D., Communication Studies: Northwestern University, Evanston, Illinois, 1976.
M.A., Speech (Rhetoric and Public Address: University of Oregon, Eugene, Oregon, 1973.
B.A., Romance Languages: University of Oregon, Eugene, Oregon, 1972.
PROFESSIONAL EXPERIENCE
Professor, Department of Communication, University of Colorado at Denver, Denver, Colorado, 1997-present.
Chair, Department of Communication, University of Colorado at Denver, Denver, Colorado, 1997-2004 and spring, 2005
Senior Research Associate, Department of Human Communication Studies, University of Denver, Denver, Colorado, 19961997.
Associate Professor, Department of Communication, Ohio State University, Columbus, Ohio, 1990-1996. Awarded tenure,
June, 1992.
Visiting Associate Professor, Department of Communication, St. Louis University, St. Louis, Missouri, 1989-1990.
Associate Professor/Assistant Professor, Department of Speech, University of Oregon, Eugene, Oregon, 1986-1989.
Awarded tenure and promoted to Associate Professor, April, 1988.
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Associate Professor/Assistant Professor, Department of Speech Communication, University of Denver, Denver, Colorado,
1980-1986. Awarded tenure and promoted to Associate Professor, June, 1986.
Visiting Professor, Department of Speech Communication, University of Georgia, Athens, Georgia, Spring, 1985.
Instructor, Graduate Program in Communication, Norfolk State University, Norfolk, Virginia, 1978-1980.
Assistant Professor, Department of Performing Arts and Communication, Virginia Polytechnic Institute and State
University, Blacksburg, Virginia, 1977-1978.
Customer Service Representative, Banta West (book manufacturing company), Sparks, Nevada, 1976-1977.
Teaching Assistant, Department of Communication Studies, Northwestern University, Evanston, Illinois, 1974-1976.
GRANTS AND AWARDS
Named Gender Scholar of the Year (with Karen A. Foss) by the Southern States Communication Association, 2005.
Outstanding Book Award of the Organization for the Study of Communication, Language, and Gender for Feminist
Rhetorical Theories, 2000.
$1000 Coca Cola Grant for Research on Women, Department of Women's Studies, Ohio State University, 1996.
Francine Merritt Award for contributions to women in communication, Women's Caucus, Speech Communication
Association, 1993.
Faculty Member of the Year, Department of Communication, Ohio State University, 1992.
$3000 Faculty Research Award to pursue research project, "Development of a Theory of Visual Imagery as Persuasion,"
University of Oregon, Summer, 1988.
Earl Bradley Award for best dissertation written in the area of rhetoric and public address, Northwestern University, 1976.
Teaching fellowship, Northwestern University, 1974-1976.
Four-year Oregon State Scholarship, 1968-1972.
Member, Phi Beta Kappa.
PUBLICATIONS
Books
Foss, Sonja K., and William Waters, Destination Dissertation: A Traveler’s Guide to a Done Dissertation (Boulder, CO:
Rowman & Littlefield, 2007).
Foss, Sonja K., Karen A. Foss, and Robert Trapp. Contemporary Perspectives on Rhetoric. Long Grove, Illinois:
Waveland, 1985; second edition, 1991; third edition, 2002
Foss, Karen A., Sonja K. Foss, and Robert Trapp, eds. Readings in Contemporary Rhetoric. Long Grove, Illinois:
Waveland, 2002.
Foss, Karen A., Sonja K. Foss, and Cindy L. Griffin, eds., Readings in Feminist Rhetorical Theory. 2004; Long Grove,
Illinois: Waveland, 2006.
Foss, Sonja K., Karen A. Foss, and Cindy L. Griffin. Feminist Rhetorical Theories. 1999; Long Grove, Illinois:
Waveland, 2006.
Foss, Sonja K. Rhetorical Criticism: Exploration and Practice. Long Grove, Illinois: Waveland, 1988; second edition,
1996; third edition, 2004.
Foss, Sonja K., and Karen A. Foss. Inviting Transformation: Presentational Speaking for a Changing World. Long Grove,
Illinois: Waveland, 1994; second edition, 2003.
Foss, Sonja K., and Karen A. Foss. Instructor's manual to accompany Inviting Transformation: Presentational Speaking
for a Changing World. Long Grove, Illinois: Waveland, 1994, 2003.
Foss, Karen A., and Sonja K. Foss. Women Speak: The Eloquence of Women's Lives. Long Grove, Illinois: Waveland,
1991.
Foss, Karen A., and Sonja K. Foss. Instructor's manual to accompany Women Speak: The Eloquence of Women's Lives.
Long Grove, Illinois: Waveland, 1993.
Articles
Foss, Sonja K., William Waters, and Bernard J. Armada. “Toward a Theory of Agentic Orientation: Rhetoric and Agency
in Run Lola Run.” Communication Theory (August, 2007), in press.
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Foss, Sonja K. “Rhetorical Criticism as Synecdoche for Agency.” Rhetoric Review, 25 (2006): 375-79.
Foss, Sonja K. “Response” to “Intercollegiate Debate as Invitational Rhetoric: An Offering.” Contemporary
Argumentation and Debate, 21 (2000), 95-97.
Foss, Sonja K., Cindy L. Griffin, and Karen A. Foss. “Transforming Rhetoric Through Feminist Reconstruction: A
Response to the Gender Diversity Perspective.” Women’s Studies in Communication, 20 (Fall 1997), 117-35.
Foss, Sonja K., and Eileen Berlin Ray. “Introduction: Theorizing Communication from Marginalized Perspectives.”
Communication Studies, 47 (Winter 1996), 253-56.
Foss, Sonja K. “Re-Sourcement as Emancipation: A Case Study of Ritualized Sewing.” Women’s Studies in
Communication, 19 (Spring 1996), 63-84.
Chryslee, Gail J., Sonja K. Foss, and Arthur L. Ranney. “The Construction of Claims in Visual Argumentation: An
Exploration.” Visual Communication Quarterly, 3 (Spring 1996), 9-13.
Foss, Sonja K., and Cindy L. Griffin. “Beyond Persuasion: A Proposal for an Invitational Rhetoric.” Communication
Monographs, 62 (March 1995), 2-18.
Foss, Sonja K. “A Rhetorical Schema for the Evaluation of Visual Imagery.” Communication Studies, 45 (Fall-Winter
1994), 213-24.
Foss, Sonja K., and Karen A. Foss. “The Construction of Feminine Spectatorship in Garrison Keillor’s Radio
Monologues.” Quarterly Journal of Speech, 80 (November 1994), 410-26.
Foss, Karen A., and Sonja K. Foss. “Personal Experience as Evidence in Feminist Scholarship.” Western Journal of
Communication, 58 (Winter 1994), 39-43.
Foss, Sonja K. “Pauli Murray.” In The Rhetoric of American Women: Critical Studies and Sources. Ed. Karlyn Kohrs
Campbell. Westport, Connecticut: Greenwood, 1994, pp. 319-30.
Foss, Sonja K. “Revisioning the Public Speaking Course.” Women’s Studies in Communication, 15 (Fall 1992), 53-65.
Foss, Sonja K. “The Construction of Appeal in Visual Images: A Hypothesis.” In Rhetorical Movement: Studies in
Honor of Leland M. Griffin. Ed. David Zarefsky. Evanston, Illinois: Northwestern University Press, 1993, pp.
211-25.
Foss, Sonja K., and Cindy L. Griffin. “A Feminist Perspective on Rhetorical Theory: Toward a Clarification of
Boundaries.” Western Journal of Communication, 56 (Fall 1992), 330-49.
Foss, Sonja K., and Marla R. Kanengieter. “Visual Communication in the Basic Course.” Communication Education, 41
(July 1992), 312-23..
Foss, Sonja K “Rhetorical Criticism as the Asking of Questions.” Communication Education, 38 (July 1989), 191-96.
Foss, Sonja K. “Constituted by Agency: The Discourse and Practice of Rhetorical Criticism.” In Essays to Commemorate
the 75th Anniversary of The Speech Communication Association. Ed. Gerald M. Phillips and Julia T. Wood.
Carbondale: Southern Illinois University Press, 1990, pp. 33-51.
Foss, Karen A., and Sonja K. Foss. “Incorporating the Feminist Perspective in Communication Scholarship: A Research
Commentary.” In Doing Research on Women’s Communication: Alternative Perspectives in Theory and Method.
Ed. Carole Spitzack and Kathryn Carter. Norwood, New Jersey: Ablex, 1989, pp. 65-91.
Foss, Sonja K. “Judy Chicago’s The Dinner Party: Empowerment of Women’s Voice in Visual Art.” In Women
Communicating: Studies of Women’s Talk. Ed. Barbara Bate and Anita Taylor. Norwood, New Jersey: Ablex,
1988, pp. 9-26.
Foss, Sonja K., and Karen A. Foss. “What Distinguishes Feminist Scholarship in Communication Studies?” Women’s
Studies in Communication, 11 (Spring 1988), 9-11.
Foss, Sonja K., and Ann M. Gill. “Michel Foucault’s Theory of Rhetoric as Epistemic.” Western Journal of Speech
Communication, 51 (Fall 1987), 384-401.
Foss, Sonja K. “Body Art: Insanity as Communication.” Central States Speech Journal, 38 (Summer 1987), 122-31.
Radich, Anthony J., and Sonja K. Foss. “Economic Impact Studies of the Arts as Effective Advocacy.” In The Economic
Impact of the Arts: A Sourcebook. Ed. Anthony J. Radich. Denver, Colorado: National Conference of State
Legislatures, 1987, pp. 77-103.
Foss, Sonja K. “Ambiguity as Persuasion: The Vietnam Veterans Memorial.” Communication Quarterly, 34 (Summer
1986), 326-40.
Foss, Sonja K. “Women Priests in the Episcopal Church: A Cluster Analysis of Opposition Rhetoric.” Religious
Communication Today, 7 (September 1984), 1-11.
Foss, Sonja K. “A Female Perspective on the Research Process.” Women’s Studies in Communication, 7 (Fall 1984), 7376.
Foss, Sonja K. “Retooling an Image: Chrysler Corporation’s Rhetoric of Redemption.” Western Journal of Speech
Communication, 48 (Winter 1984), 75-91.
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Foss, Sonja K., and Anthony J. Radich. “Metaphors in ‘Treasures of Tutankhamen’: Implications for Aesthetic
Education.” Art Education, 37 (January 1984), 6-11.
Foss, Karen A., and Sonja K. Foss. “The Status of Research on Women and Communication.” Communication Quarterly,
31 (Summer 1983), 195-204.
Foss, Sonja K. “Criteria for Adequacy in Rhetorical Criticism.” Southern Speech Communication Journal, 33 (Spring
1983), 283-95.
Foss, Sonja K. “Abandonment of Genus: The Evolution of Political Rhetoric.” Central States Speech Journal, 33
(Summer 1982), 367-78.
Foss, Sonja K. “Rhetoric and the Visual Image: A Resource Unit.” Communication Education, 31 (January 1982), 55-66.
Foss, Sonja K., and Anthony J. Radich. “The Aesthetic Response to Nonrepresentational Art: A Suggested Model.”
Review of Research in Visual Arts Education, 12 (Fall 1980), 40-49.
Foss, Sonja K. “The Equal Rights Amendment Controversy: Rhetorical Worlds in Conflict.” Quarterly Journal of
Speech, 65 (October 1979), 275-88.
Foss, Sonja K. “Teaching Contemporary Feminist Rhetoric: An Illustrative Syllabus.” Communication Education, 27
(November 1978), 328-35.
Foss, Sonja K. “Feminism Confronts Catholicism: A Study of the Use of Perspective by Incongruity.” Women’s Studies
in Communication, 3 (Summer 1979), 7-15.