Joseph Harris outlines an analytical approach to rhetoric through the identification and classification of discursive communities. Applying Harris's model to The Laramie Project reveals the desire of two individual communities to be perceived as positive entities, but also the actual impact their rhetoric has on outside observers. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay The Laramie Project is a show composed of a series of interviews taken by the Tectonic Theater Project in New York. The group traveled to Laramie, Wyoming in 1998 to gather more than 200 perspectives on the murder of Matthew Shepard. Matt was a student at the University of Wyoming, located in Laramie. He was kidnapped, taken to a remote area, beaten and tied to a fence. A few days later he died from the injuries sustained in the beating. Matt was homosexual and his death was motivated by the perpetrators' hatred towards the gay community. The show eloquently reveals a number of discursive communities within Laramie as they reflect on the hate crimes their city is now known for. One identifiable discourse community is the elderly women of Laramie, Wyoming. Two members of this community, Marge Murray and Alison Mears, sit down to converse with an interviewer. Marge and Alison position themselves as the insiders to the elders' discursive community, while the interviewer is the outsider who records the discourse to which the reader or audience member is exposed. This community discourse ties into one's roots in the city and shared experiences growing up in Wyoming. As a community, they can reflect on the past together in a relaxed and carefree spirit. Marge and Alison discuss every topic imaginable. They talk about personal occupations and education in the city, the economic history of Laramie, and the current pitfalls the city has faced due to ongoing changes in society. These topics evoke certain tropes that the interviewer becomes temporarily confused by. Through his questions the audience or readers can come to understand phrases such as “SOL” and “all together” (Kauffman 28). These tropes and many others help highlight the good-hearted nature of Laramie people of the past and the somewhat oppressed and unequal state of Laramie in 1998. Although the two women choose to speak freely about themselves and the topics outlined, they refuse to explore certain genres of discourse. Women will not externally reveal personal information that directly harms their current community. At the interviewer's suggestion, Marge must address the issue of Matthew Shepard. It does this in a way of refusing further information. She is closely tied to the case and will not incriminate or discuss current personal afflictions with the outside, especially since her words will be shared with more people through the script of a play. He simply states “Laramie is live and let live,” while Alison explains that “she knows more than she is willing to say” (Kauffman 28). In this moment of rejection, Marge helps identify the authority of her discursive community. Authority is defined by connection to the content of the conversation. Authority is not static, but rather changes as the topics of discourse change. Both women act as authorities when talking about Laramie, history and more. However, Marge, as the mother of the officer who found Matt, is the authority on this topic and sets the boundaries of the conversation at this point in the discussion. The identification and exploration of these two women as members of onediscursive community defined by Harris, allows the reader or audience member to adequately analyze the practices of the community and their resulting perspectives. In this discursive community the ease of tropes and common background allow individuals to freely share both personal and general information in a fun and enlightening atmosphere. These women clearly feel comfortable within their discursive community. Through their ease, approach to discourse, and strong relationship with each other, the outsider, reader, or audience member is given the opportunity to scrutinize their livelihood. They leave a positive impression of themselves and their community. Although the women discuss the economic crises of the current times, the outsiders become overwhelmed by the discourse surrounding their past experiences and overall positive attitude towards life. It is difficult to find a negative view of this community when women so openly expose the root of their being to a complete outsider and stranger to the community. In addition to the positivity that these women convey to the observer, a sense of compassion is difficult to avoid while examining their speech. The two women transform from carefree to distant and static as they perform genres of discourse outside the confines of their community. The role of authority allows the observer to recognize that as common ground is lost in this community, so too is the equality of speakers. Marge's direct connection to the Matthew Shepard case ignites a reaction in her speech that shapes the community's discomfort with addressing the topic at hand. She remains sincere, but is unable to explain the source of her anguish to the outside world. The observer is overwhelmed with compassion as he watches or reads the lively discourse of the struggling community and turns away from the interviewer. This discursive community, like any other, identifies with the best characteristics and shuns genres that manifest a negative side of the community. Another discourse community can be identified in the youth of Laramie, and more specifically in the friends of Aaron McKinney. Aaron McKinney is one of two men who savagely beat Matthew. Shannon and Jen, Aaron's friends, were interviewed one evening at a local bar. Their discourse community includes Shannon, Jen, Aaron, and other friends; although there is only text recorded by two members of the group. Shannon and Jen explore a wide variety of topics with the outsider in a very short amount of time. Drugs, alcohol, robbery, education, friendship and more are mentioned and investigated by the two friends. They spend an inordinate amount of time on the topic of drugs, where clichés such as “tweak” and “bowl” are frequently used (Kauffman 37). Other lexical tropes include the use of swear words and derogatory slang terms for homosexuals. Both interview participants act as speakers in the discursive community, but their speech hints at the absence of a source of authority. Aaron McKinney, above all, is the authority figure in this discursive community. Shannon and Jen freely share their habits of illegal substances and poor lifestyle choices. However, as Aaron McKinney's topic approaches, the censorship of speech becomes apparent. Their friendship and relationships with Aaron are topics articulated with a sense of goodwill and humor towards the outsider. Once the interviewer asks the two for more information regarding Matthew or Aaron's views on homosexuals, Jen steps forward to act as a buffer for Aaron. Shannon casually begins to spread information that Shannon considers private to the community. These topics, those.