EXAM 301 Flashcards

1
Q

Rhetor

A

Person who produces and uses rhetoric

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2
Q

Rhetorical Critic

A

Person who analyzes and critiques rhetoric

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3
Q

Artifacts

A

AKA “text” is the tangible evidence of a particular rhetorical act. Rhetorical acts and artifacts reproduced by rhetoric

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4
Q

Rhetorical act

A

Delivering a speech. Artifacts would be the video of the speech.

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5
Q

Rhetorician

A

Someone who produces and analyzes rhetoric

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6
Q

Rhetoric

A

Refers to persuasive discourses, written and oral, encountered face to face or through electronic print media that seek to affect attitudes and actions

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7
Q

5 characteristics of Rhetoric

A

It is propositional, addresses problems and conflicts, addressed to an audience, is pragmatic, is poetic.

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8
Q
  1. Rhetoric is propositional
A

It involves assembling thoughts/words/symbols into propositions and arguments and/or makes judgement about some matter

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9
Q
  1. Rhetoric Addresses problems & conflicts
A

It directly or indirectly gives advice, offers an opinion or makes judgement about a matter

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10
Q
  1. Rhetoric is addressed to an audience
A

Or audiences and deal with matters of common concern

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11
Q
  1. Rhetoric is pragmatic
A

It senses a practical response to an actual issue

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12
Q

Rhetoric is poetic

A

Style impacts influence

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13
Q

Naming

A

A process of ordering the world and focuses an individual’s attention. A name is not a label for one thing, rather a group or category of similar things

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14
Q

Role of the critic:

A
  • a human engaged in qualitative study of human social processes
  • engages in thoughtful analysis
  • to expose strengths and weaknesses of a message
  • to understand why some messages aren’t persuasive to some people
  • to understand the message we disagree with ARE persuasive to others
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15
Q

Rhetorical Criticism

A

A qualitative research method that is designed for the systematic investigation and explanation of symbolic acts and artifacts for the purpose of understanding rhetorical processes and sociopolitical practices

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16
Q

4 Steps of doing all Rhetorical Criticism:

A
  1. Select an artifact
  2. Analyze the artifact
  3. Formulate a research question
  4. Write an Essay
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17
Q

Selecting Artifacts can be

A

Any piece of communication (written, oral, visual) that uses symbols (words, sounds, images) in ways that might influence audiences.

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18
Q

When analyzing an artifact

A

Read/watch/listen to your artifact at least once before you do anything else - get a full sense of what is happening

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19
Q

When formulating a strong research question:

A

It is the guiding question that shapes the focus of your essay

  • they should be specific, but not too specific
  • should be answered by your thesis statement/central argument
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20
Q

Writing the Essay (Components)

A

INTRO:
- opening paragraph, description of artifact, description of method
BODY/ANALYSIS:
- explains what you discovered when applying method based on your RQ
CONCLUSION:
- summarize & synthesize your analysis, end with memorable closing

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21
Q

4 Key Elements of Good Criticism

A

Justification, reasoning, insight, coherence

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22
Q

Justification

A

Your claims about the artifact must be supported by textual evidence/data

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23
Q

Reasoning

A

Show readers how you’re using evidence/data from the artifact to make claims

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24
Q

Insight

A

Your analysis should offer interesting, insightful interpretations that use method/perspective to teach readers something they wouldn’t otherwise see

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25
Q

Coherence

A

Your analysis should be written, organized and presented in a way that is mechanically, stylistically and structurally sound

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26
Q

What types of artifacts are most appropriate for new Aristotelian Criticism?

A

SPEECHES ARE BEST

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27
Q

5 canons of new Aristotelian Criticism:

A

Invention, Organization/Arrangement, Style, Delivery, Memory

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28
Q
  1. Invention
A

How were arguments constructed using particular persuasive & what are the likely effects of those appeals.

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29
Q

3 appeals in the canon of invention are

A

Ethos, Pathos, Logos

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30
Q

Ethos

A

Speakers credibility, character, morality, good will, intellect

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31
Q

Pathos

A

Appeals to emotion

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32
Q

Logos

A

What are the speaker’s main claims, and how are these claims supported with evidence and reasoning (inductive reasoning: specific examples to make gen claim, deductive reasoning: use general principle to make specific claims)

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33
Q

Enthymemes

A

Syllogism that leave a major premise unstated for audiences to infer

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34
Q
  1. Organization/Arrangement
A

What structure was used to arrange arguments/ideas in this speech and why?

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35
Q
  1. Style
A

What words choices were significant & why, what stylistic devices were used & why, what are the overall stylistic characteristics?

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36
Q
  1. Delivery
A

What verbal and Nonverbal elements of the speaker’s delivery were significant and why

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37
Q
  1. Memory
A

How well does the speaker seem to know/recall the info and details presented.

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38
Q

Critiques of Neo Aristotelian Criticism:

A

It’s purpose was to see if a speech had intended effect on audience to persuade them.

FLAW: people can flawlessly lie and it would be good still

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39
Q

3 types Aristotelian/Greek theories of speeches

A

Forensic, Deliberative and Epideictic

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40
Q

Forensic Speech

A

Concerned with past actions; purpose is to accuse or defend, focus arguments on justice/injustice

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41
Q

Deliberative Speech

A

Concerned with the future; purpose is to urge audiences to do or not to do something, focus on good/bad/right/wrong

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42
Q

Epideictic Speech

A

Concerned with the present; purpose is to praise/blame/entertain; focuses on virtues and vices

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43
Q

Rhetorical Situation (Bitzer)

A

Do situations compel particular types of rhetoric or does rhetoric construct the situation to which it responds?

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44
Q

Genre

A

Refers to a distinct group, type or category of artifacts that share at least 3 interdependent characteristics In generic criticism which are: situational requirements, substantive & stylistic characteristics, organizing principle.

45
Q

Situational Requirements (INTRO)

A

Similar conditions/situations compel similar rhetorical responses; rhetoric imagines particular situations in similar ways

46
Q

Substantive & Stylistic Characteristics (ANALYSIS)

A

Characteristics chosen by the rhetoric to respond to the perceived situational requirements

47
Q

Substantive characteristics =

A

Content

48
Q

Stylistic Characteristics =

A

Form

49
Q

Organizing Principle (CONCLUSION)

A

The key idea/logic connecting situational requirements to substantive & stylistic characteristics

50
Q

3 Approaches to do Generic Criticism:

A

Generic Description, Generic Application & Generic Participation

51
Q

Generic Description (inductive)

A

Analyze several artifacts to identify a genre & its characteristics

52
Q

Generic Application (deductive)

A

Analyze one artifact to see how well it fulfills the characteristics of a genre

53
Q

Generic Participation (deductive)

A

Analyze one artifact to see if it fits the genre

54
Q

Generic Description Purpose

A

To define a genre & formulate theoretical insight about its characteristics/functions, observe similarities across multiple artifacts, unpack stylistic and substantive characteristics among all and finally identify organizing principles between all artifacts

55
Q

GRQ for Generic Description

A

What are the (situational, stylistic and substantive) characteristics of this genre?

56
Q

Generic Application Purpose

A

To determine how well a particular artifact fulfills the requirements/expectations of a particular genre

57
Q

GRQ for Generic Application

A

How well does artifact x fulfill the requirements and expectations of y genre?

58
Q

Ideology

A

A system of beliefs, values, assumptions,understandings and norms shared among a group of people that guide the way they “perceive and act” within the world without conscious recognition

59
Q

Ideology is a lens that focuses out perceptions and shapes

A

How we see the world, others and ourselves

60
Q

Ideological criticism takes rhetorical criticism beyond thinking about the mechanics of a rhetorical act (how a piece persuades) and into the

A

Political realm

61
Q

Subject positions

A

The type of identities

62
Q

Interpellation

A

The way we become identities with certain subject positions, calling people into identities

63
Q

Hegemony

A

Refers to the systematic privileging of beliefs, values, assumptions & norms of dominant groups to the extent that these dominant beliefs, values, assumptions and norms often go unquestioned

64
Q

Hegemonic ideologies establish

A

Naturalized and normalized ways of seeing and acting within the world, that support dominant groups

65
Q

You can resist hegemonic ideology, but you cannot

A

Escape it

66
Q

Goal of Ideological Criticism

A

To identify and make visible the ideology implicitly promoted by an artifact, to explicate the role of rhetoric in creating that ideology and to uncover sociopolitical implications

67
Q

Ideological criticism DOES NOT discover truth, but rather

A

Uncover how understandings of what is true or false are being constructed in certain contexts to serve certain interests

68
Q

Steps of Ideological Analysis:

A

EST. The sociopolitical context of artifact, inductive analysis (identify rhetorical aspects of artifact connected to beliefs, values, etc.), interpret the suggested ideological meanings of those presented elements, formulate an ideological claim (thesis), identify the ideological functions served by artifact

69
Q

GRQ for Ideological Criticism

A

What beliefs/values/norms are being promoted or resisted by artifact? whose interests are being served, represented or favored? What does this artifact suggest us to do?

70
Q

The terms homosexual and heterosexual were both coined by the

A

Medical/psychiatric institution to refer to sexual deviants who were labeled mentally ill

71
Q

Heterosexual

A

Individuals who engage in sexual acts with members of opposite sex for the purpose of pleasure

72
Q

Homosexual

A

Individuals who defy traditional gender norms and expectations

73
Q

The use of “gay” to label same sex attraction emerged in the 20th century for the label of

A

Homosexual

74
Q

Queer

A

Was once used primarily as an anti gay slur, particular against effeminate men who violate masculine norms

75
Q

Today, Queer signifies

A

Celebration of difference & rejection of norms and expectations

76
Q

Metaphors

A

Non literal comparisons in which a word or phrase from one domain or experience is applied to a different domain

77
Q

Tenor of a Metaphor

A

The topic or subject that is being explained

78
Q

Vehicle of a metaphor

A

Lens or mechanism through which the topic/subject is explained

79
Q

Metaphor Example: my roommate is a pig

A
Tenor = roommate
Vehicle = pig
80
Q

Target domain

A

The conceptual domain we’re trying to understand

81
Q

Source Domain

A

The conceptual domain we’re using to understand the target domain

82
Q

Target/Source Domain Example: my roommate is a pig

A

Target domain: domestic human behavior

Source domain: farm animal behavior

83
Q

Traditional Perspective of Metaphor

A

Metaphors are used as a stylistic device, decoration and linguistic embellishment

84
Q

Contemporary perspective of metaphors

A

Metaphors participate in the process of constructing social realities. Diff metaphors create diff frames, shapes our understanding, labels phenomenon direct to how we experience it

85
Q

3 types of visual metaphors

A

Substitution, Fusion & Juxtaposition

86
Q

Substitution

A

Only one of the objects-either tenor or vehicle- is present

87
Q

Fusion

A

One object or part of an object is superimposed on another so that both objects are at least partially visible

88
Q

Juxtaposition

A

The objects that serve as tenor and vehicle are juxtaposed separately within the same visual space

89
Q

Metaphors & resistance

A

Exposing how dominant metaphors make meaning and constructing alternative metaphors is one way to resist hegemonic ideologies and disrupt normative ways of thinking.

90
Q

Steps of doing a Metaphor Criticism

A
  1. Examine artifact as a whole
  2. Isolate the metaphors
  3. Sort the metaphors, look for patterns and connections
  4. Develop an explanation for how the metaphors are functioning rhetorically
91
Q

GRQ for Metaphor Criticism

A

How is the meaning of (x tenor) created through the use of (y tenor) and what are the implications of this metaphoric Association?

92
Q

Archetypal Metaphor characteristics

A

Popular throughout history and across cultures, grounded in human experience, embodies human motivations, persuasive, present in most speeches

93
Q

Example of an archetypal metaphor

A

Light and darkness

94
Q

Pentadic Criticism is connected with the theory of

A

Dramatism (Burke)

95
Q

Key Assumptions of Dramatism

A

Life is a stage, communication constitutes human social action and is performed, language provides clues to motives, framing and termination screens

96
Q

“Life is a stage”

A

Humans present messages like a drama/play by organizing them around actors, scenes, events, plots

97
Q

Framing

A

How communicators construct a particular perspective of a situation by organizing the raw details of a given situation/issue in a particular manner, with some details more visible than others

98
Q

Terministic Screens

A

Particular word choices that reflect or signal a rhetorical underlying worldview or ideology and shape how audiences perceive situations and issues

99
Q

5 Elements of Pentadic Criticism

A

Act, Agent, Scene, Purpose, Agency

100
Q

Act

A

What happened

101
Q

Agent

A

Who did it

102
Q

Scene

A

When and where did it happen

103
Q

Purpose

A

Why did it happen

104
Q

Agency

A

How did it happen or what enabled it to happen

105
Q

Ratios

A

Systemic pairings of two pentadic terms to analyze how one term influences the other

106
Q

Goal of Pentadic Criticism

A

To discover which term is dominant/controlling, regaling where the rhetor places responsibility for the situation, issue, problem provides insight into their underlying beliefs.

107
Q

GRQ for Pentadic Criticism

A

How does the rhetor construct this situation in ways that assign blame/responsibility (or praise) to a particular pentadic element?

108
Q

Steps of doing Pentadic Criticism

A
  1. Identify the 5 elements in artifact
  2. Break elements into ratios to identify the dominant term
  3. Use identification of Pentadic elements and dom term to make a claim about how the rhetor constructs the situation
  4. Consider the implications of constructing (x issue/situation) through the Pentad
109
Q

TEST Q: What element of the pentad most significantly influences other elements in the pentadic?

A

Controlling Term