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*Gender and Rhetoric*

In this entry I will examine the critical question, what gender/sexuality norm is constructed or undone in this artifact, how is it rhetorically done, and how does it push back against the ideology or gender norms? As well as is it productive/unproductive (ethical/unethical)?

To investigate these questions I examined an advertisement for the 2023 Women's World Cup. The advertisement challenges gender norms in soccer, promoting inclusivity and equal recognition for women's sports. By superimposing male players' faces on female counterparts, the ad confronts biases and advocates for the idea that soccer is soccer. Thereby fostering a more equitable and respectful attitude towards women's soccer. The rhetorical strategy is ethically productive, encouraging viewers to reevaluate their perceptions of women's soccer.

The advertisement is a video titled “la Compil des Bleues” which was produced by a French Telecom company called Orange.  The title of the video translates to Blues Compilation.  The Blues is the nickname given to the French men's national soccer team where they compete in the World Cup every 4 years.  This advertisement first aired in June of 2023 precursing the FIFA Women’s World Cup which took place a few months later.  The advertisement starts by showing what seems to be highlights of the men's team.  It displays feats of athleticism and skill that many would correlate with well-known players on the men's team such as Kylian Mbappe and Antoine Greizeman as they are world-renowned legends in soccer.  However, midway through the advertisement it reveals the use of deepfake technology and that who we were really watching are actually the women's team players.  It goes on to display text on screen that says “At Orange, we support les Bleus” (la Compil des Bleues, 01:41) and then adds an e (bleues) to denote the feminine version of the word to indicate they also support the women's team equally.  

Judith Butler explains in her article “Undoing Gender” the ways in which Gender has been used to classify people and subsequently how it has led to the creation and use of stereotypes.  The social construction of Gender greatly influences the ways in which people not only perceive themselves but also perceive others as well.  She states “The human is understood differentially depending on its race, the legibility of that race, its morphology, the recognizability of that morphology, its sex, the perceptual verifiability of that sex, its ethnicity, the categorical understanding of that ethnicity” (Butler 2).  Later she goes on to explain that the way in which each sex is perceived in society is also linked to its viability in the society.  By having these intertwined, the perceptions are oftentimes greatly influenced by a number of factors including stereotypes by which a gender is judged.  These stereotypes are not always negative as they can also be used to influence one’s perception of a particular gender in a positive way.

The advertisement strategically utilizes deepfake technology to challenge traditional gender norms in soccer, aiming to disrupt stereotypes and reshape societal perceptions about women’s soccer.  Halfway through, after watching what the audience perceives to be the men’s team, the advertisement displays the text “Only les Bleus can give us these emotions, but that’s not them that you’ve just seen” (la Compil des Bleues, 00:55).  The use of this technology makes people reconsider their preconceived notions about women’s soccer.  One common criticism of women’s soccer and subsequent reason for a lack of viewership is that the women’s game is not as fast-paced, not as skilled and the players aren't as athletic as their male counterparts.  The use of superimposed images of men onto women's bodies tricks the viewer’s brain into thinking that the video they are watching is the fast-paced, skilled, and athletic men's team that they are used to.  The revelation moment disrupts the stereotypes and shows that the excitement and skill are not exclusive to one gender.  The revelation also causes the viewer to take a step back and offer a moment of self-reflection and an opportunity to admit to themselves that the women’s game is in fact equally skilled as the men’s.  The deepfake technology also serves as an important aspect of this rhetoric as it provides a convincing display of what appeared to be the men’s team at first glance.  

The ad is ethically productive, encouraging viewers to reevaluate biases and fostering a more equitable attitude toward women's sports.  At the end of the video, the message states “ At Orange, we support les Bleus” (la Compil des Bleues 1:46), which then changes to les Bleues, denoting the change from the men’s team to the women’s team.  By doing this, it shows support for both the men’s and women’s teams highlighting the ethical message of equality and recognition.  The ad challenges and acknowledges biases and positions itself as a way in which we may change our perception of the differences between the teams.  While this is a French ad focusing on the French National teams, its theme and message of equality is one that can be applied to every country and every sport.  Its ethically positive and productive message is far-reaching and similar advertisements may highlight the level of skill in both men’s and women’s sports across the globe.  There are immense viewing disparities between the men’s and women’s World Cup, as well as other sports worldwide.  This advertisement is one way in which people are attempting to combat this issue and break down stereotypes that have been established and reinforced.  

​​The advertisement strategically uses audio narration in the first half of the ad, followed by deliberate silence in the second half in order to shape a narrative of reflection and evaluation of preconceived notions.  The commentators say things like “Yes he beat him, yes, of course, he beat him”,  “what an extraordinary touch” and “this is the football that we love'' (la Compil de Bleues 00:29) when the first half of the advertisement is playing.  This commentary grips the viewer into the action through the commentators' loud and excited words.  The tone the commentators set is one many soccer fans are familiar with, loud, excited, and celebrative of the players.  Yet in the second half of the video, there is no commentary at all.  As we watch the same clips and highlights again, but this time revealed to be the female players, there is only dramatic music that plays.  The video shows the side-by-side comparison of what people thought to be the men's team playing but shows the real athletes.  The intentional shift from the action and color commentary to silence evokes a sense of reflection from the audience.  The audience is forced to think about what they watched and what it means.  This choice invites viewers to question norms and reflect on the unequal representation of men’s and women’s soccer.  It advocates for a shift in perspective and for people to engage in reflection and challenge their own biases towards women in sports. 

One way in which rhetorical strategies may be unproductive in this advertisement comes from the silence during the second half.  Commentary is an important part of watching sports for many people and adds excitement to the game they are watching.  By not having the loud, excited, and complimentary commentary that we see during the first half of the ad, it could reinforce the stereotype that women’s sports are less engaging and less interesting to watch.  Those who are accustomed to the commentary may view the lack of such as a sign that what is being displayed is of less significance.  Additionally, without the commentary discussing what an impressive move or feat of athleticism was just performed, some may be more critical and upon seeing who is truly playing, think that the action was not as impressive as they had first thought. Overall the commentary is an important rhetorical tool that is used in the ad and brings viewers to reflect on their biases, though not everyone will choose to confront them but rather brush it off and retain their bias.    

Lindsey Mean further discusses in her article, Identity and discursive practice: doing gender on the football pitch, how gender influences soccer.  Mean identifies that “Sport is a highly potent site for the construction of masculine identity and, as the dominant sport in many countries, it is football that is especially linked to masculinity” (Mean 789).  Because of this, we have seen an immense attraction to soccer from people around the world.  This masculine identity that has been formed has existed for well over a century.  With the introduction of women in sports and soccer in particular, “The increasing number of women entering the field of football comprises a direct threat to masculine identity, creating a significant site of gender conflict.” (Mean 789).  Mean identifies the ways in which stereotypes surrounding women's soccer have been formed and the reasons as to why they exist.  Her argument is centered around the idea of the identity of soccer being male-centered and how it has been intertwined with masculinity.  When female athletes are looked at in sports, another topic that is brought up is the physical abilities of women are less than of their male counterparts.  The article goes on to state, “Defending this masculinized categorization requires the positioning of women as having an unsuitable nature and physical build” (Mean 790).  Mean as well as this advertisement shows that women do in fact have a suitable nature and the appropriate physical build to compete at high levels just like the men's teams.  Mean provides an interesting look into gender within the realm of soccer and how it has consequently been changing over the years, yet some things stay the same. 

In summary, the advertisement strategically employs multiple rhetorical strategies in order to confront stereotypes and gender norms in soccer.  The use of deepfake technology is central to this as it deceives the viewer by forcing them to confront their bias.  The shift from the vibrant commentary to the stark silence is employed so that people are forced to have a moment of self-evaluation and to take a step back from any preconceived notions that they might have.  Its use of a strong revelation moment is pivotal in how viewers comprehend the ad.  While some may argue that the silence reinforces stereotypes about women's sports, it ultimately has a strong positive impact on the message the advertisement is sending.  The advertisement advocates for equality for both genders and for the increased recognition of women's soccer worldwide.  The advertisement demonstrates the real-world application of challenging gender norms in a unique and exciting way.  As discussions surrounding equality in sports evolve, this ad serves as a great example of how visual and verbal discourse can be used in ways to dismantle stereotypes and foster a more inclusive and supportive community in the realm of sports.  

Works Cited 

Butler, J. (2004). “Introducing: Acting in concert.” In Undoing Gender (pp. 1-4). New York 

Routledge.

Marcel, director. Orange - La Compil Des Bleues (English Version). YouTube, YouTube, 29 June 

2023, https://www.youtube.com/watch?v=QVNZRHIZVL8. Accessed 12 Dec. 2023. 

MEÂN, LINDSEY. “Identity and Discursive Practice: Doing Gender on the Football Pitch.” 

Discourse & Society, vol. 12, no. 6, 2001, pp. 789–815. JSTOR, http://www.jstor.org/stable/42888403. Accessed 13 Dec. 2023.

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* COUNTERPUBLICS*

 In this entry, I will examine the critical questions, Why/how is it a counterpublic? What is its rhetorical message, and how does it use rhetoric and symbols to make arguments and/or create identity? How is it empowering and/or limiting?

To investigate these questions, I examined a protest from an environmental activist group,  Just Stop Oil, as my rhetorical artifact.  Just Stop Oil strategically employs disruptive tactics, such as roadblocks, social event interruptions and vandalism to symbolically challenge the approval of new fossil fuel policies primarily in the UK. Through these controversial methods, the movement aims to empower its members by fostering a collective identity committed to ending fossil fuel production. However, the confrontational nature of these actions may limit broad appeal and lead to divisions among climate activism supporters, those prioritizing immediate action, and those considering alternative considerations.

In this protest, two Just Stop Oil protestors are seen wearing Just Stop Oil shirts as they throw cans of what seems to be Tomato soup onto a Vincent Van-Goh painting Sunflowers located in London’s National Gallery.  The protestors then take out bottles of superglue and glue their hands to the wall as one begins to speak.  The protestor exclaims, “What is worth more, art or life. Is it worth more than food, worth more than justice? Are you more concerned about the protection of a painting, or the protection of our planet and people? The cost of living crisis is part of the cost of the oil crisis.  Fuel is unaffordable to millions of cold hungry families, they can't even afford to heat a tin of soup.” (The Guardian 00:28-01:01).  This nonviolent civil resistance is central to Just Stop Oil’s strategy to impact social change and accomplish its goals.  Just Stop Oil has also organized similar protests in which the protective glass was shattered on a painting by Diego Velasquez in the same galley as Van Goh’s.  Other protests organized by the group include disruptions to major sporting events, shutting down major roads in England, and disrupting cultural events.  These actions are seen by the organization to be a necessary aspect in order to get people to pay attention to the issue of climate change as they see it as an immediate threat to our civilization.  They believe that protests that do not disrupt society are not reported on and gain little attention in the media and therefore are excluded from the public sphere.  By interrupting people's days, they are forcing the issue to the forefront of people's minds.  These disruptive tactics have not gone unnoticed and have even caused contention between other climate change activists who believe that these tactics are harmful to the movement as a whole and turn people off to the message of climate change.

Squires explains that counterpublics are formed when groups of peoples ideas or identities don't align with the main or dominant public sphere.  She explains that the public sphere may overlook or purposefully ignore the concerns of counterpublics because it is in the best interest of the public sphere.  These counterpublics often bring  alternative discourses to the public sphere and voice concerns that they feel are not being heard or addressed appropriately.  In her article, Squires focuses on how the black press promotes the black counterpublic and how the oscillation between the state and the black counterpublic occurred during the 1900’s.  Squires details how the State even tried to stifle the black press and even was able to ban certain newspapers in the South.  This however did not stop the flow of information to blacks in the south, it only created a roadblock to be overcome.  Squires explains how despite this, the black counterpublic used methods of transmitting the information to the audiences being kept from the newspapers.  One of the ways in which southern Blacks were invited north was labor agents coming into the south and explaining how they could have a better life up north where they did not need to fear lynchings, jobs were available, and their vote mattered.  As a response, “Some states sent their own labor agents North and paid Blacks there to tell stories of freezing temperatures and joblessness” (Squires 115) in an effort to discourage migration to northern states in an effort to maintain their cheap labor pool that they were used to. Squires explains how counterpublics face backlash from the public sphere as the counterpublics may challenge power structures that are currently in place.  

Just Stop Oil is attempting to overcome the roadblock of governmental inaction on climate change by disrupting the day to day lives of ordinary people in an effort to force the issue of global warming to the forefront of people's minds so that it is not something that is ignored.  Specifically they vandalize a famous painting and then state the question “What is worth more, art or life?” (The Guardian 00:28-00:32).  By asking this question as the first words that are spoken after their actions, it forces the audience to step back and consider their position before outright dismissing the claims later made by the protestors, “Are you more concerned about the protection of a painting, or the protection of our planet and people?” (The Guardian 00:40-00:45). The protestors in this instance are calling out the backlash they will receive for their actions and countering it with the idea that their actions are insignificant compared to the global crisis of climate change and the implications that not acting on it have on the people of the world.  The protestors are calling on not only the government to take action but also for the public to put pressure on and support policies that are cognizant of the climate and aim to mend the damage we have done thus far.  It is also worth noting that the painting itself was not damaged in any way as it is displayed in a frame with protective glass over the front of it.  They also are importantly wearing shirts that promote the cause and the organization that they are a part of and are hoping to inspire further interest and publicity for Just Stop Oil.  The organization itself believes in taking action when petitions have been ineffective.  

The protestors aim to create a sense of unity by connecting the cost of living crisis to the cost of oil crisis.  The protestors state “Fuel is unaffordable to millions of cold hungry families, they can't even afford to heat a tin of soup” (The Guardian).  By bringing this larger concept of the problematic usage of fossil fuels and applying it to the everyday lives of people, the protestors aim to create a link between the public and the organization's goals. Their words make the audience have empathy for the goals they are trying to accomplish.  The use of tomato soup to throw on the painting is also a deliberate choice by the protestors as they hold up the empty can when they stress this point.  Additionally the empty can is a symbolic representation of the harsh reality of what many families experience as a result of the cost of living crisis.  The protestors actions and symbols aim to evoke a visceral response from the audience by showing the interconnectedness of economic struggles and environmental concerns.  They also hope to promote a unity among the people that disregards traditional divisions in order to promote a more sustainable future and that puts people over profit.  

The ways in which Just Stop Oil conducts their protest are a vital component to their identity as a counterpublic.  Many counterpublics are characterized by their attitude towards violence and disruption.  For example in the United States, one of Dr. Martin Luther King’s main component to protesting was his use of non violent protests, whereas the Black Panthers believed that non violent protests could not truly liberate black Americans and engaged in violent action against the state.  The way in which an organization chooses to spread their message is an identifying feature about themselves.  Weisser states in a 2008 article that “Publics are as much a product of their forms of communication  as they are a product of their subject matter.” (Weisser 611).  The article goes on to say that “the conventions of dominant discourse in democratic societies generally cloak the power dynamics involved in what is considered standard, appropriate, or acceptable.” (Weisser 612).  This is to say that when a counterpublic does not follow the conventions of the dominant public, it can be seen as inappropriate or unacceptable because it is not in accordance with standards.  Because the dominant public views an action, like in this case direct action, to be inappropriate, the counterpublic struggles in finding acceptance within the dominant public.  Rather the counterpublic is not trying to fit in but rather create a space in which their voice and viewpoints may be heard even if it is contrary to what the dominant public's views are.  

These protests however are not without controversy and their share of criticisms.  These disruptive protests that Just Stop Oil organizes and executes may be productive in garnering attention for their cause, however it is not productive in bringing more people to their side of the cause.  Rather it solely builds a community within the environmentalism counterpublic.  Those who see the protest occurring likely have already made up their minds about the topic at hand and are unlikely to change their views based on the actions of the protestors.  Many people see these protests as a nuisance and an annoyance rather than real social change.  According to a survey, “Many campaigners believe so-called direct action – such as defacing public property, blocking traffic or gluing people to roads or objects – is an effective way of drawing attention to their cause. But the vast majority of Britons (78%) say this kind of protesting hinders, rather than helps a cause” (Morris).  This is an essential disconnect that the organization has with the public sphere.  The counterpublic is in this case not oscillating with the state, but rather seems to be protesting the British public as they are not causing issues for the state but rather for the everyday citizen of the UK.  One response to this criticism could be that the large majority of British citizens do not believe that climate change is a real issue that needs to be addressed.  This is not substantiated as “ In October 2021, three-quarters (75%) of adults in Great Britain said they were either very or somewhat worried about the impact of climate change” (Office for National Statistics).  With this in mind, it is clear that Just Stop Oil is putting pressure in the wrong places as the majority of the public agrees with them, yet they are disrupting the lives of those same people.  Instead, the organization should focus its tactics and attention on disrupting the lives of the politicians who receive donations and gifts from fossil fuel executives and companies.  While yes it is the people who elect the politicians, the fossil fuel companies are unfortunately the ones who finance their campaigns.  

In summary, the rhetorical analysis of this Just Stop Oil protest reveals how a unique counterpublic interacts and oscillates with the dominant public sphere.  The organization uses protest strategies designed to interrupt the daily lives of people in an attempt to force the issue of climate change to the front of the discussion.  They aim to be a more confrontational movement and one that is not able to be ignored.  In accordance with Squire's idea of a counterpublic, we see that this group has formed their own identity as a response to marginalization from the dominant sphere.  The group's rhetoric in this instance calls out the public for caring more about material things like paintings over human lives and our environment.  These protests have been effective in garnering attention and news headlines, however it has struggled to gain support from the wider public audience because of its confrontational nature.  The group aims to navigate the tension of effectively raising awareness of the issue and turning people off to the words and ideas of what is being said because of the actions being taken by the group.  This is a problem that many counterpublics face and it is one that is difficult but not impossible to overcome.  

Works Cited 

Morris, Joanna. “The Majority of the Public Believe Protests Rarely, If Ever, Make a 

Difference.” YouGov, YouGov, 14 Feb. 2023, yougov.co.uk/politics/articles/45232-majority-public-believe-protests-rarely-if-ever-ma?redirect_from=%2Ftopics%2Fpolitics%2Farticles-reports%2F2023%2F02%2F14%2Fmajority-public-believe-protests-rarely-if-ever-ma. 

Person. “Three-Quarters of Adults in Great Britain Worry about Climate Change.” 

Three-Quarters of Adults in Great Britain Worry about Climate Change - Office for National Statistics, Office for National Statistics, 5 Nov. 2021, www.ons.gov.uk/peoplepopulationandcommunity/wellbeing/articles/threequartersofadultsingreatbritainworryaboutclimatechange/2021-11-05#:~:text=In%20October%202021%2C%20three%2Dquarters,were%20neither%20worried%20nor%20unworried. 

Squires, C. (2001). The Black Press and the State. In R. Asen and D. Brouwer (Eds.), 

Counterpublics and the state (pp 111-136). Albany, NY: State University of New York Press. 

The Guardian, director. Just Stop Oil Activists Throw Tomato Soup on Van Gogh’s Sunflowers 

Painting at National Gallery. YouTube, YouTube, 14 Oct. 2022, https://www.youtube.com/watch?v=LTdquzu-BXg. Accessed 21 Nov. 2023. 

Weisser, Christian R. “Subaltern Counterpublics and the Discourse of Protest.” JAC, vol. 28, no. 

3/4, 2008, pp. 608–20. JSTOR, http://www.jstor.org/stable/20866859. Accessed 21 Nov. 2023.

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*Narratives and Rhetoric*

In this entry, I will analyze how this artifact uses narrative elements to promote a certain ideology and/or constitute people in a narrative around a particular ideology? What is (ethically) productive and/or limiting about this depiction, and is it more productive or limiting?  

To investigate these questions, I have picked Chris Stapelton's performance of the "Star Spangled Banner '' at Super Bowl LVII as my artifact. I will answer how the "Star Spangled Banner'' advances the account of American exceptionalism as well as how this video portrays that. The song of praise of the US, which originated as a poem written by Francis Scott Key, represents the account of American excellence, featuring the emergence of the country's exceptional willpower and its origin as the underdog fighting against the powerful British Empire. The performance draws a clear depiction of the unwavering country that is the United States of America and the persevering soul of the country, it also works decisively to advance the story of American superiority. By underlining the country's resilience, opportunity, and dedication to democracy, this narrative supports the idea that the United States possesses a special and unique place on the world stage.

"The Star-Spangled Banner'' serves as our country's national anthem and honors our country's history and the fighting spirit we have had since our nation's inception. It is also played before virtually every sporting event in the US ranging from high school events to professional games like we see here with the Super Bowl. Playing it before the games allows us to reflect on the sacrifices that were made by our forefathers so that we may enjoy the freedom our country provides today. The video opens with a shot that is quite possibly one of the most American scenes there is. After all, what is more American than the Superbowl, the military, and a country singer singing the national anthem? Superbowl LVII drew nearly 70,000 fans to the stadium and attracted an astonishing 115.1 million viewers online setting a viewership record for the most watched US telecast. The performance of the National Anthem by Chris Stapelton as well as the ceremony to accompany it promotes one key narrative, American exceptionalism.

Narratives, as explained by Palczewski et. al, can be used to create culture and community. Songs like “The Star Spangled Banner” are not simply stories, but they are strong instruments for sending social qualities, building shared personalities, and encouraging a feeling of having a place. As Placweski explains it, “Dominant narratives imbue a culture with a set of values" (Palczewski et. al, p.122). The narrative that is being pushed in “The Star Spangled Banner” is that of American exceptionalism. American exceptionalism can best be described as the idea that the United States is in some way distinctive, unique, or exceptional compared to other countries. The story of American superiority becomes the dominant focal point of the song. Palczewski et al go on to say that “Members of a society understand their nation by the stories told about it” (Palczewski et al, p.122) and we certainly see this aspect of narratives portrayed in the video and lyrics of this artifact. Foss believes that there are a few key points to a narrative. One of those key points is that “it must include some kind of causal or contributing relationship among events in a story” (Foss p.334). Additionally, Foss identifies different dimensions of a narrative such as characters, setting, audience, and theme. This allows us to analyze the features of a narrative in detail.  

The performance of "The Star Spangled Banner" unmistakably includes the story of American transcendence. It advances the narrative that the US is an outstanding country, underlining its obligation to freedom and its strength. Verses like "O’er the land of the free and the home of the brave" (Chris Stapleton Sings the National Anthem at Super Bowl LVII 1:55-2:10) highlight the idea of American boldness and resilience. The song portrays a crucial crossroads in American history, where the banner endures a steady attack, representing the country's unfaltering will and refusal to surrender. This story builds up the conviction that the US isn't simply just another country, but one that was established on the idea of life, liberty, and the pursuit of happiness. The song displays that persevering through prominence and use in different settings keeps on supporting this account of American excellence, helping residents to remember their common qualities and the country's perseverance through the soul.

2. The visuals shown in the video contribute to this idea that the United States holds a meaningful spot on the world stage. The video does this by showing our current military strength and what that implies for not only us but for the rest of the world. In hostile territory the words “O say does that star-spangled banner yet wave” (Chris Stapleton Sings the National Anthem at Super Bowl LVII 1:40-1:50) still hold an incredible amount of significance as wherever the US flag flies, there are US personnel there to support the countries values and promote freedom in the country. It promotes the idea that the United States is a shining beacon of freedom for those living under oppression. The visuals and implications of showing our military strength promote the idea of America as a protector and a leader on the world stage. The display of the star-spangled banner throughout the video shows the importance of the American flag and represents the immense amount of pride that our country has in the flag.  

  The account of American superiority, as embodied in "The Star-Spangled Banner," without a doubt conveys rousing and bringing-together characteristics. It imparts a deep satisfaction and positive energy in the hearts of numerous Americans, helping them to remember the country's victories despite misfortune. While it might try to effectively bring together members of the country, it can likewise distort the intricacies of American history. The hymn promotes the narrative that the US is better than other countries while ignoring certain truths that have occurred in our country's history, like the contentions with Native people groups and continuous battles for civil rights. The song was written during a time when Land of the Free only applied to certain demographics within the United States. If you were not a white man you were not considered free during the time it was written. The video does attempt to include diversity and inclusion. One way in which the video does this is by showing an all-woman flyover of military jets. While it does make attempts to appeal to certain groups, it completely ignores the truths of other groups like indigenous people who are not mentioned or shown once in the video. Sustaining the legend of superiority can obstruct endeavors to really resolve these issues. Recognizing these limits of the song doesn't refute the story's worth in encouraging public pride and solidarity, yet it stresses the requirement for a more nuanced comprehension of American history and the continuous work expected to accomplish the goals it addresses.

Giolláin explores the role of folklore in narratives by delving into how the idea of portraying a certain narrative can give others an example to follow. The article goes on to say that narratives can create or promote heroes or models whose actions transcend historical limitations imposed on them. In “The Star Spangled Banner” we see the actions of the Americans as being our model to live up to. They were facing a much stronger and greater enemy, yet through their perseverance, they emerged victorious. Giolláin notes that “One type of folklore studies, then, was characterized by a national perspective, the other by its provincial-colonial nature” (Giolláin, p.79). Considering the context in which the song was written can better help us understand the narrative as described by Giolláin. The emerging United States view was being expressed through the national perspective while the point of view of the British is considered through the lens of colonialism. The British attempt to maintain control over its colonies and the opposing struggle for independence helps us to understand the narrative presented to us. This song, with its striking portrayal of American excellence, describes a focal point in cultivating a shared feeling of freedom and uniqueness among Americans.

Overall, Chris Stapleton's performance of "The Star Spangled Banner" reveals an interesting piece of rhetoric that advances the narrative of American exceptionalism through its use of the lyrics of the National anthem as well as the visuals displayed. Through its message and setting, it successfully depicts the US as a unique country in its obligation to freedom and democracy by showcasing themes of resilience and dedication. This song, while possibly distorting the many-sided real factors the country has confronted, keeps on being a powerful token that ingrains a feeling of public pride and solidarity among Americans. The examination of this relic highlights the compelling job of stories in forming social qualities and personalities, uncovering how they serve not just as intelligent reflections of a country's goals but also as a form of continuous development of its character. "The Star-Spangled Banner" remains a unique demonstration of the persevering force that is the American way of life by calling back to the origins of the country and its inception in the face of immense challenges. It presents rhetoric in a way that conveys and supports the story of American exceptionalism by exploring our national history and the values that arose from the country's experiences.

Works cited 

"Chris Stapleton Sings the National Anthem at Super Bowl LVII" YouTube, uploaded by NFL, 12 Feb 2023, https://www.youtube.com/watch?v=WFKXJ091Ed4

Diarmuid Ó Giolláin. “Narratives of Nation or of Progress? Genealogies of European Folklore Studies.” Narrative Culture, vol. 1, no. 1, 2014, pp. 71–84. JSTOR, https://doi.org/10.13110/narrcult.1.1.0071. Accessed 1 Oct. 2023.

Foss, S.K. (2004). Narrative criticism. Rhetorical criticism (3rd ed.) (pp. 333-341). Long Grove, IL: Waveland Press

Palczewski, C. H., Ice, R., Fritch, J. (2012). Narratives. In Rhetoric in civic life (pp. 117-146). State College, PA: Strata Publishing, Inc.