Plant figurations : a vital study in rhetorical address following Theodor W. Adorno

In this dissertation, I ask the question: how is (and is not) the plant both subject and object of human rhetoric? In taking up the question, I explore an array of texts, artifacts, and encounters revealing “the plant” addressed as a vital object of subjective experience and as a subject of objective reflection. Following what Diane Davis and Michelle Ballif call “extrahuman rhetorical relations,” I demonstrate an orientation of struggle that holds the question open at its limit, by approaching iterations of “the plant” caught in motion. I apply a method drawn from Frankfurt School scholar Theodor W. Adorno’s invitation to apply negative dialectics—or immanent criticism—to everyday sites of personal encounter and interdisciplinary texts. I understand the dialectic features of human-plant relations in three chapters or figures studies. First, I examine the concept of “natural history” revealed in a site-specific experience at Red Rock State Park in California. Second, I look at the historic and contemporary texts that name a parasitic liana known as the Sipo-Matador. Third, I hear the sounding of European trees emanating through a vinyl copy of the 2012 art-album Years by Bartholomäus Traubeck. Approaching these figures in affirmative and negative modes, I argue that keeping the dialectic in motion instantiates a critical process—a reflection on reflective capacity—across multiple renderings of representation and structure. Writing and reading is an essential part of this process. In understanding thinking as a movement of mediation—a dramatic journey joining the dialectic across theoretical abstraction and lived reality—I reveal a multidimensional orientation to rhetorical criticism suited to hear the plant, addressed. My approach, I argue, keeps Adorno and the plant—both subjects and objects of this dissertation—close enough to touch while at bay enough to remain mysterious. I trace a malignant structure surrounding my encounter between the human and the plant—the Enlightenment in its dominating iterations—in relief as much as I hope to leave open creative reflection and vital critique.