Christopher Carter – författare

Soul food has played a critical role in preserving Black history, community, and culinary genius. It is also a response to--and marker of--centuries of food injustice. Given the harm that our food production system inflicts upon Black people, what should soul food look like today?Christopher Carter's answer to that question merges a history of Black American foodways with a Christian ethical response to food injustice. Carter reveals how racism and colonialism have long steered the development of US food policy. The very food we grow, distribute, and eat disproportionately harms Black people specifically and people of color among the global poor in general. Carter reflects on how people of color can eat in a way that reflects their cultural identities while remaining true to the principles of compassion, love, justice, and solidarity with the marginalized.Both a timely mediation and a call to action, The Spirit of Soul Food places today's Black foodways at the crossroads of food justice and Christian practice.

Soul food has played a critical role in preserving Black history, community, and culinary genius. It is also a response to--and marker of--centuries of food injustice. Given the harm that our food production system inflicts upon Black people, what should soul food look like today?Christopher Carter's answer to that question merges a history of Black American foodways with a Christian ethical response to food injustice. Carter reveals how racism and colonialism have long steered the development of US food policy. The very food we grow, distribute, and eat disproportionately harms Black people specifically and people of color among the global poor in general. Carter reflects on how people of color can eat in a way that reflects their cultural identities while remaining true to the principles of compassion, love, justice, and solidarity with the marginalized.Both a timely mediation and a call to action, The Spirit of Soul Food places today's Black foodways at the crossroads of food justice and Christian practice.

In Rhetorical Exposures, Christopher Carter explores social documentary photography from the nineteenth century to the present to illuminate the political dimensions of photographs that highlight social injustice.Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.Carter’s carefully reasoned monograph examines both formal quali­ties of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heart-rending photos of Manhattan’s poor in late nineteenth-century New York, the iconic images of tenant farmers in west Alabama from James Agee and Walker Evans’s Let Us Now Praise Famous Men, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. He argues that social documentary photos have the powerful capacity to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to public memorials, murals, and graphic novels.As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.

Documentary photography aims to capture the material reality of life. In Rhetorical Exposures, Christopher Carter demonstrates how the creation and display of documentary photographs—often now called “imagetexts”—both invite analysis and raise persistent questions about the political and social causes for the bleak scenes of poverty and distress captured on film.   Carter’s carefully reasoned monograph examines both formal qualities of composition and the historical contexts of the production and display of documentary photographs. In Rhetorical Exposures, Carter explores Jacob Riis’s heartrending photos of Manhattan’s poor in late nineteenth-century New York, Walker Evans’s iconic images of tenant farmers in west Alabama, Ted Streshinsky’s images of 1960s social movements, Camilo José Vergara’s photographic landscapes of urban dereliction in the 1970s, and Chandra McCormick’s portraits of New Orleans’s Ninth Ward scarred by Hurricane Katrina.   While not ascribing specifically political or Marxist intentions to the photographers discussed, Carter frames his arguments in a class-based dialectic that addresses material want as an ineluctable result of social inequality. Carter argues that social documentary photography has the powerful capacity to disrupt complacent habits of viewing and to prompt viewers to confront injustice. Though photography may induce socially disruptive experiences, it remains vulnerable to the same power dynamics it subverts. Therefore, Carter offers a “rhetoric of exposure” that outlines how such social documentary images can be treated as highly tensioned rhetorical objects. His framework enables the analysis of photographs as heterogeneous records of the interaction of social classes and expressions of specific built environments. Rhetorical Exposures also discusses how photographs interact with oral and print media and relate to creations as diverse as public memorials, murals, and graphic novels.   As the creation and dissemination of new media continues to evolve in an environment of increasing anxiety about growing financial inequality, Rhetorical Exposures offers a very apt and timely discussion of the ways social documentary photography is created, employed, and understood.

In 2015, Professor Emerita Lucille M. Schultz donated to the University of Cincinnati her set of composition materials gathered from fifteen libraries and collections around the country. With 350 entries ranging from 1785 to 1916, the collection includes picture books for early primary schools, grammar textbooks, student writing, and advanced rhetoric textbooks for undergraduates. The documents afford a thrilling glimpse into nineteenth-century ways of thinking and teaching, highlighting practices we would today identify as prewriting, collaborative invention, freewriting, and object-oriented pedagogy. Composing Legacies relates these pedagogies to expressions of social class, nationalism, and public engagement that run throughout the Victorian era and the Gilded Age. Early chapters show how writing and grammar handbooks aimed to reproduce social hierarchies; later ones show how textbook authors aimed to mitigate lecture-style pedagogy with attention to student backgrounds, personal interests, economic aspirations, and presumed audiences. Often, those authors demonstrated a pronounced interest in national unity, but not without exception. Little-known Confederate textbooks took the ideology of unity to be a form of Northern aggression, promoting the maintenance of state and local traditions through their classroom exercises and sample passages. Composition scholars who see the nineteenth-century as a period of skills-and-drills teaching, devoid of explicit political concern, will find surprises in the archival texts’ testimonies about national crises and civic participation. Those scholars will also find that the “social turn” in writing and rhetoric, however recent as a historical framework, has been underway for more than two hundred years.

The Corruption of Ethos in Fortress America: Billionaires, Bureaucrats, and Body Slams argues that authoritarian strains of U.S. governance violate the idea of ethos in its ancient, collectivist sense. Christopher Carter posits that this corrupts the cultural “dwelling place” through public relations strategies, policies on race and immigration, and a general disregard for environmental concerns. Donald Trump’s presidency provides a signal instance of the problem, refashioning the dwelling place as a fortress while promoting sweeping forms of exclusion and appealing to power for power’s sake. Carter’s analysis shows that, emboldened by the purported flexibility of truth, Trump’s authoritarian rhetoric underwrites unrestrained policing, militarized borders, populist nationalism, and relentless assaults on investigative journalism. These trends bode ill for human rights and critical education as well as progressive social movements and the forms of life they entail. Worse yet, the corruption of ethos threatens life in general by privileging corporate prerogatives over ecological attunement. In response to those tendencies, Carter highlights modes of activism that merge antiracist and labor rhetoric to offer a more fluid, unpredictably emergent vision of social space, allying with ecofeminism in ways that make that vision durable. Scholars of rhetoric, political science, history, ecology, race studies, and American studies will find this book particularly useful.

Rhetoric and Resistance in the Corporate Academy analyzes the political and legal struggles between labor movements and school administrators over the rise of part-time and temporary jobs in higher education. Focusing particular attention on the labor of writing instruction, Carter finds among literacy workers both a deeply exploited segment of the campus population and a vector of resistance to the hegemony of flexible hiring. Contrary to visions of ivory tower seclusion, he traces continuities between teachers' and students' experiences as corporate employees, contending that their frequently insecure positions, inadequate working conditions, minimal benefits, and marginalized voices constitute grounds for political alliance. Carter then outlines a labor theory of agency that entails long-range collaboration among tenure-line faculty, part-time and non-tenure-track teachers, and student social movements, listening always for harmonies as well as dissonances among their modes of argument.

In this volume, the author analyzes the heated debates and ongoing legal struggles between school administrators and academic labor movements over the rise of part-time and temporary jobs in higher education. Focusing particular attention on the labor of writing instruction, the author finds among literacy workers both a deeply exploited segment of the campus population and a vector of organized resistance to the flexible hiring and unilateral decision making that now characterizes the corporate university. Contrary to visions of ivory tower seclusion, this volume traces continuities between writing teachers' and students' experiences as corporate employees, all the while contending that their frequently insecure positions, inadequate working conditions, minimal benefits, and marginalized voices constitute a grounds for political alliance. The author outlines a labor theory of agency that entails long-range collaboration among tenure-line faculty, part-time and non-tenure-track teachers, and student social movements, listening always for harmonies as well as dissonances among their modes of argument.

The Rhetoric of Dystopia develops an idea of “emergent metalepsis” that describes the uncanny moments where fictive texts anticipate material events, blurring the boundary between the storyworld and the world of reception. Christopher Carter treats dystopia as rhetoric that shapes collective identities while speeding across platforms and geopolitical borders, at once critiquing and exemplifying the circulation of power relations through varied modes. This rhetoric features rampant viruses, authoritarian governments, corporate behemoths, corrupt educational and scientific institutions, and brutal policing, sometimes amplifying existing trends and sometimes merely documenting them. From Bong Joon-ho to Reed Morano, Octavia Butler to Richard McGuire, artists proffer arguments whose gravity we often fail to register, thus calling into question the uses of media literacy in an age of looming cataclysm. Carter situates this rhetoric within scholarship on literacy, built environments, border policies, global food production, and the Anthropocene.

Plant-based and cell-cultured meat, milk, and egg producers aim to replace industrial food production with animal-free fare that tastes better, costs less, and requires a fraction of the energy inputs. These products are no longer relegated to niche markets for ethical vegetarians, but are heavily funded by private investors betting on meat without animals as mass-market, environmentally feasible alternatives that can be scaled for a growing global population.This volume examines conceptual and cultural opportunities, entanglements, and pitfalls in moving global meat, egg, and dairy consumption toward these animal-free options. Beyond surface tensions of “meatless meat” and “animal-free flesh,” deeper conflicts proliferate around naturalized accounts of human identity and meat consumption, as well as the linkage of protein with colonial power and gender oppression. What visions and technologies can disrupt modern agriculture? What economic and marketing channels are required to scale these products? What beings and ecosystems remain implicated in a livestock-free food system? A future of meat without animals invites adjustments on the plate, but it also inspires renewed habits of mind as well as life-affirming innovations capable of nourishing the contours of our future selves. This book illuminates material and philosophical complexities that will shape the character of our future/s of food.

Plant-based and cell-cultured meat, milk, and egg producers aim to replace industrial food production with animal-free fare that tastes better, costs less, and requires a fraction of the energy inputs. These products are no longer relegated to niche markets for ethical vegetarians, but are heavily funded by private investors betting on meat without animals as mass-market, environmentally feasible alternatives that can be scaled for a growing global population.This volume examines conceptual and cultural opportunities, entanglements, and pitfalls in moving global meat, egg, and dairy consumption toward these animal-free options. Beyond surface tensions of “meatless meat” and “animal-free flesh,” deeper conflicts proliferate around naturalized accounts of human identity and meat consumption, as well as the linkage of protein with colonial power and gender oppression. What visions and technologies can disrupt modern agriculture? What economic and marketing channels are required to scale these products? What beings and ecosystems remain implicated in a livestock-free food system? A future of meat without animals invites adjustments on the plate, but it also inspires renewed habits of mind as well as life-affirming innovations capable of nourishing the contours of our future selves. This book illuminates material and philosophical complexities that will shape the character of our future/s of food.

Plant-based and cell-cultured meat, milk, and egg producers aim to replace industrial food production with animal-free fare that tastes better, costs less, and requires a fraction of the energy inputs. These products are no longer relegated to niche markets for ethical vegetarians, but are heavily funded by private investors betting on meat without animals as mass-market, environmentally feasible alternatives that can be scaled for a growing global population.This volume examines conceptual and cultural opportunities, entanglements, and pitfalls in moving global meat, egg, and dairy consumption toward these animal-free options. Beyond surface tensions of “meatless meat” and “animal-free flesh,” deeper conflicts proliferate around naturalized accounts of human identity and meat consumption, as well as the linkage of protein with colonial power and gender oppression. What visions and technologies can disrupt modern agriculture? What economic and marketing channels are required to scale these products? What beings and ecosystems remain implicated in a livestock-free food system? A future of meat without animals invites adjustments on the plate, but it also inspires renewed habits of mind as well as life-affirming innovations capable of nourishing the contours of our future selves. This book illuminates material and philosophical complexities that will shape the character of our future/s of food.