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Conclusion on alfred adler theory
Alfred Adler's theory of strength and weakness
Alfred Adler's theory of strength and weakness
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In Mortimer J. Adler’s article “How to Mark A book,” he argues that you should mark up your book to note significant information. Mortimer argues, through the rhetorical appeals and fallacies, that as you write in a book it becomes “absorbed in your bloodstream,” and allows you to fully own the book. As readers searching for these techniques we can become, in a way, immune to the fallacies and observe the argument for what it truly is. This article, however,has relatively few fallacies. "How to Mark A book," uses all of the rhetorical appeals (ethos, logos, pathos) to convince you the reader to mark up your book. First, for any analysis of an argument, we must find “who is claiming what”(Lunsford, Ruszkiewicz and Walter 94). In this case we have Mortimer Jerome Adler, an American philosopher, educator and writer; his publisher “The Saturday Review of Literature,”who commonly publish pieces …show more content…
Throughout this argument he provides reason after reason on why you should mark your book, while also considering any reason to the contrary. Notice how when he states, “If you’re a die-hard anti-book-marker you may object that the margin,… don’t give room enough. How about a using a scratch pad… then insert these pages permanently inside.”(Adler 2), he explains the counter argument and presents a solution immediately afterwards.
Next, we will talk through his ethical appeals, which aren’t nearly as common as his logical appeals, however still prove to be strong supporting details in his case. He says, “The most famous active reader of great books I know is President Hutchins of the University of Chicago,” and goes on to talk regarding his marking of books in further detail. Hutchins list of accomplishments range from graduating from Yale to being the dean of the law school there. Certainly this man should be held in high regard, and Adler has clearly formed the case, “he does it so should
Author: Walter Benn Michaels is the chair of the Department of English at the University of Illinois at Chicago teaching literary theory, and American literature. Michaels has also has multiple essays and books published such as Against Theory, The shape of the Signifier, and Diversity's False Solace
Schakel, Peter J., and Jack Ridl. "Everyday Use." Approaching Literature: Writing Reading Thinking. Boston: Bedford/St. Martin's, 2008. 109-15. Print.
1970, pp. 7-8. Rpt. In The Chelsea House Library of Literary Criticism. New York.:Chelsea House Publishers, 1988.
Heller, Joseph. The Chelsea House Library of Literary Criticism. Twentieth-Century American Literature Vol. 3. New York. Chelsea House Publishers, 1986.
Stein, H. T., & Edwards, E. M., (1998), Classical Adlerian Theory and Practice. Retrieved December 11, 2013 from www.aldlerian.us/theoprac.htm
...simov. Ed. Joseph D. Olander and Martin Harry Greenberg. N.p.: Taplinger, 1977. 32-58. Rpt. in Contemporary Literary Criticism. Ed. Jean C. Stine. Vol. 26. Detroit: Gale, 1983. 41-45. Print.
Belloc, Hilaire. "A Companion to Mr. Wells's "Outline of History"." Twentieth Century Literary Criticism: Volume 6. Detroit, Michigan: Book Tower, 1982. 522. Print.
It is very easy to agree with Moebius statement that ‘good’ picture books contain some form of invisible and intangible concepts that keeps the reader returning. In Voices in the Park it is very easy to see Moebius idea due to the ability of technology to create detailed and complex books. In contrast, Potter has produced a book that more subtle in showing this relying not on technology like Voices in the Park but working within severe limitations. Blending page turns, text, colour to create understandable concepts. Goodman comments that some would argue that these elements in pictures interfere with and detract from the text, and thus undermine the confidence of the reader. An extrapolation of this idea is that preconceived ideas and pictures of another spoil the reader’s entrance to literacy.
Bloom, Harold. Sterling Professor of the Humanities at Yale University. New York City: Chelsea House, 1986. Print.
The Russian writer Ivan Turgenev wrote in Fathers and Sons in 1862, "A picture shows me at a glance what it takes dozens of pages of a book to expound” (Turgenev 196). Mark Twain was a living testament to that belief because iillustrations were an integral part of Mark Twain’s published work. They embellished his stories, informed the reader, and often reflected his humor. However, today’s fictional novels rarely include illustrations beyond the cover and fly leaf. This lack of illustrations has become more the norm in the digital publishing world because the illustrations often do not translate well to the digital format. My research paper will delineate the reasons that illustrations were relevant and necessary for the 19th century publication and why they are less relevant in the digital age. I will show that illustrations played an essential part in the success of Mark Twain’s books (1) because he made them an integral part of his writing, giving clarity to his written words; (2) because of the subscription publishing model of his era, and, (3) because of Twain’s dependence on them to describe his characters. However, the digital and audio publishing market of today has lessened the impact of illustrations in modern literary works. In Twain’s 19th century era, books were often a work of art as well as a literary treasure. The books I read today on my e-reader or listen to on “Audible” versions -- even Twain’s books -- almost never have a visual impact like Twain’s books had in the 19th century.
Heller, Joseph. The Chelsea House Library of Literary Criticism. Twentieth-Century American Literature Vol. 3. New York. Chelsea House Publishers, 1986.
Wittgenstein, Ludwig; G. E. M. Anscombe, P.M.S. Hacker and Joachim Schulte (eds. and trans.). Philosophical Investigations. 4th edition, Oxford: Wiley-Blackwell, 2009. Print.
The notion of the author has often been disputed when it comes to critical literary studies. The argument centers around one basic question: Should the author be considered when looking at a text? There are numerous reasons given as to why the author is important or why the ...
Tucker, Martin. Moulton’s Library of Literary Criticism. Volume 4. Frederick Ungar Publishing Company. New York. 1967.
In like manner, Gregory Fowler also uses allusions to prove his thesis. In the beginning of the essay, he alludes to mul...