Amy Anderson

Lucie Olbrechts-Tyteca's 1974 chapter on dissociation in the comic furthers our understanding of the rhetorical possibilities of dissociation, revealing how the concept can dismantle old worldviews and create new ones through laughter. Thanks to issues with translation and the chapter's obscure examples, however, this text has been largely overlooked by scholars. This article grounds the chapter's theories in examples with more contemporary resonance as a necessary first step toward understanding the full scope of Olbrechts-Tyteca'ss contributions to the concept of dissociation. Considering Olbrechts-Tyteca's chapter in light of other texts from the New Rhetoric Project also calls attention to the ways that translation practices have shaped scholars'; reception and use of the Project's concepts.

This article draws on comics theory to argue that dissociation helps us better understand how different media interact in multimodal compositions. When audiences make meaning in the multimodal gutter that occurs between media, their choices often reflect their beliefs and values.

This article argues that Chaim Perelman and Lucie Olbrechts-tyteca's concept of dissociation is a useful framework for exploring the interaction between texts and images in visual arguments. More specifically, I use dissociation to examine the visual argument in a series of 1950s advertisements for Levy's rye bread. I argue that the dissociative interaction between the ads' text and images expanded the market for Levy's rye, yet relied on problematic representations of Jewish identity. Nevertheless, the ads' dissociative framework allows for the campaign and its parodies to critique and expand notions of Jewish identity.

This article argues that Chaim Perelman and Lucie Olbrechts-Tyteca’s concept of dissociation is a useful framework for exploring the interaction between texts and images in visual arguments. More specifically, I use dissociation to examine the visual argument in a series of 1950s advertisements for Levy’s rye bread. I argue that the dissociative interaction between the ads’ text and images expanded the market for Levy’s rye, yet relied on problematic representations of Jewish identity. Nevertheless, the ads’ dissociative framework allows for the campaign and its parodies to critique and expand notions of Jewish identity.

Argumentation & Advocacy, vol. 52, Fall 2015, pg 109-124