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Rhetoric in a day to day example
The “rhetorical situations and their constituents”
The rhetorical devices
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Looking at the readings by Bitzer, Vatz, Morey, and Edbauer-Rice, we can see a connection in some way to each other. First, in Bitzer, we are told that the “situation influences the rhetoric” and that “rhetorical situations must exist as a necessary condition of rhetorical discourse,” (Bitzer 5). But when looking at Vatz, he tells us the direct opposite, that “rhetoric influences the situation” (Vatz 159????) and “meaning is not discovered in situation but created by rhetors” (Vatz 157). Basically, Vatz is telling the audience that “rhetors are responsible for what they choose to make salient,” (Vatz 158) instead of merely being a “reflector of reality,” (Vatz 158). As we continue through the readings, we begin to notice an expansion on ideas, where we can see a similarity in ideas between Bitzer and Morey. Morey expands on Bitzer by first, introducing the original rhetorical triangle, which includes rhetor, artifact, and audience (all three of which as seen in Bitzer) and elaborates on this triangle to make it a tetrahedron. In this tetrahedron, he adds design, medium, and genre to...
The earliest member of the Bohrer Family, of which we can locate on records, was a man named Abraham Bohrer. He was born in Germany on December 14, 1717. He had a wife, Anna Lucy Schuster, and four children all by the name of “John.” They boarded an unidentified immigration boat and docked in Baltimore, Maryland on September 11, 1750. His occupation was a farmer and hoped for a better life and in search for religious freedom. He died on October 12, 1759. He was just 42.
At first glance, Emerson’s quote “times of terror are times of eloquence” seems quite outlandish as using the words ‘terror’ and ‘eloquence’ in such close proximity feels slightly alien to the reader. However, upon closer inspection, it becomes apparent that Emerson’s quote refers directly to Bitzer’s “Rhetorical Situation”. Bitzer’s “Rhetorical
Heinrichs had previously worked as a journalist before becoming a full time writer and advocate for rhetoric. He utilizes illustrative examples to convey rhetorical concepts. Furthermore, chapter four reveals the most valuable logos and pathos tactic. Lastly, this book’s use should be continued in this course.
In the story, What is Rhetoric by William Covino and David Jolliffe, there are a wide variety of topics discussed that are inextricably interwoven with the concept “rhetoric.” Rhetoric, as defined by the authors, is “the study and practice of shaping content.” Consequently, my first thought was: Ok, this is a rather broad and opaque description; my successive thought, however, was one of astonishment, inasmuch as the authors went on to further elucidated this jargon. In doing so, the authors distilled the most crucial elements of what is rhetoric— the prevalence of discourse community, and how appealing language is often a precursor to persuasion.
Haas and Flower created an interesting point when I read “Rhetorical Reading Strategies and the Construction of Meaning “. In the reading, Haas and Flower, provided multiple propositions to apply, however a key one certainly caught my eye. Haas and Flower proposed various arguments, yet their main idea implied that there needs to be an increase in rhetorical reading. I came to the conclusion that increasing rhetorical reading was their main point due to a statement in the text. “We would like to help extend this constructive, rhetorical view of reading, which we share with others in the field…” [Haas and Flower, 167] the following statement blandly states their intention to spread an important strategy, reading rhetorically, among community.
In this paper we will be discussing the rhetorical devices, logos, ethos, pathos, kairos, and
reader creates “supplementary meaning” to the text by unconsciously setting up tension, also called binary opposition. Culler describes this process in his statement “The process of thematic interpretation requires us to move from facts towards values, so we can develop each thematic complex, retaining the opposition between them” (294). Though supplementary meaning created within the text can take many forms, within V...
Deep-seated in these practices is added universal investigative and enquiring of acquainted conflicts between philosophy and the art of speaking and/or effective writing. Most often we see the figurative and rhetorical elements of a text as purely complementary and marginal to the basic reasoning of its debate, closer exploration often exposes that metaphor and rhetoric play an important role in the readers understanding of a piece of literary art. Usually the figural and metaphorical foundations strongly back or it can destabilize the reasoning of the texts. Deconstruction however does not indicate that all works are meaningless, but rather that they are spilling over with numerous and sometimes contradictory meanings. Derrida, having his roots in philosophy brings up the question, “what is the meaning of the meaning?”
...ty. " Visual Rhetorics: History, Memory, Trauma. Eds. Barbara Biesecker and John Lucaites, University of Alabama Press.
In that light, it is interesting to analyse what it is that made these artistic words such a difference. A difference that persuaded people to change their behavior. Thankfully, human history has created a term to define these great speeches. It is called rhetoric. In this essay we will try to determine whether rhetoric is an art, or merely a
My intention here is to acknowledge two problems that I believe all scholars of "the visible" will encounter at some point in their work. Both showed up early in my research on commemorative artworks, but I suspect that they crash everyone's party at some point. I have no "solution" to these problems, but I believe they should, actually must, be addressed in work on visual rhetoric. The first, "readability," is both a practical and theoretical problem having to do with the possibilities of interpretation in visual culture. The second, which I'll simply label "materiality" for the moment, has a presence in numerous arenas beyond the study of visual culture, but remains nearly unaddressed and nearly unacknowledged in rhetorical work on visual images.
Petrarch had a very different style of writing. “The rhetorical texture of Petrarch’s writing, in short, complicates
In conclusion, I would say that the power of literature is connoted exactly in this unparalleled symbolic order of language that can never produce or pin down a definite meaning but nevertheless passes on "the desire and curse of meaning”. It is what the transcendent signification of the text that leaves the reader always anticipating and curious and at the same time delighted from the pleasure this play of the authors brings to her/him. On the other hand there is always this uncanny component of meaning that cannot be clarified or rationalized but nevertheless is an intrinsic part to our reading experience.
In the famous final speech of Charlie Chaplin’s film The Great Dictator, released in 1940, it is clear that the speaker put forward an advocacy of democracy and against tyranny. Using Kenneth Burke’s pentad as a means of analyzing this speech allows for better understanding who he places blame on and what he advocates. Moreover, Kenneth Burke’s pentad also aids in understanding the relationships between the five components of the pentad, as well as which one becomes the determinant in every part of the speech, told from the twenty ratios made up with the five components. In this final paper, I would use the model of Burke’s dramatistic pentad to tentatively explore the rhetorical motivation behind Charlie Chaplin’s speech.