Rules? What Rules? (Week 15)

Throughout the semester, we have discussed the ways in which writing is always situated and how rhetoric allows us to understand the complex system in which any language act is immersed. Conventions, the 'rules' change depending on your purpose, audience, etc. So now, for your penultimate blog post, I would like to invite everyone to think about and post the advice that guides or informs your writing practice. It can be a reflection on the wisdom passed to you through a long-ago teacher, or something offbeat and idiosyncratic (for example, Hugo advises to write only in pen and never erase--just scratch out that which you no longer want furiously).

In class last Thursday, I provided a handout of 'rules' that I have taken to heart as a writer, things that inform my writing habits. You may access a digital version of that handout here. As you will note, this is an assignment I like to give students at the end of our semester.

So, tell us: what are your writing rules to live by? Again, all are invited to post, though you are certainly welcome to respond to another's post if you would prefer, and please try to do so by Thursday, May 7.

What Say You, Gen Y?

I came across this piece this morning as I browsed the news over my morning coffee, and thought--especially considering the context of this course and the topics you've all chosen for your research projects--that you might find it interesting. What power do you wield in participating in the public forum, in advancing public arguments? Here's what Assistant Professor Jim Burkee has to say about you:

[ . . .] the political loyalties of that coveted demographic are not yet decided. While they seem to lean to the left, they're actually more libertarian than liberal, a fact that will reshape the way we think about liberalism and conservatism in decades to come.

[. . .]

In short, they love their freedom.

[. . .]

The truth is, [America's Generation Y (born between 1980 and 1995)], which seems not to fit in any neat political category, is more ideologically consistent than either Democrats or Republicans. The conservatism that dominates the Republican Party today is a combination of limited government in some places (taxation and regulation), but bigger and more intrusive government elsewhere (homeland security, military and on social issues). The Democratic Party is just as inconsistent, preferring government to be hands-off on social and civil liberty issues, but large elsewhere in areas like health care and other entitlements. [more]

So what say you, Gen Y?

Schedule for Weeks 13 & 14

To ensure that you have adequate time to complete your projects for April 23, class will convene as follows:

Tuesday, April 14--Cohort Work Day

You may use class time to work together on your projects at a location of your choice. Progress reports are required by the end of the day via Learn@UW.

Thursday, April 16--Full Class

Class will meet as usual in 6110.

Tuesday, April 21--Cohort Work Day

You may use this day to work with your cohort to ready your project for Thursday's presentations. Progress reports are required by the end of the day via Learn@UW.

Thursday, April 23--Collaborative Research Project Presentations

Our usual meeting time, place TBA.

Please keep in mind that on the Tuesdays designated as Cohort Work Days you are responsible for honoring the 75-minute class meeting, so come prepared. I will be available via e-mail, phone, or facebook chat--or you may come by my office. I will provide a form for your progress reports before you are required to submit them.

Consider This: Week 13

So far this semester, we have looked at the problem of Engaging the Polis from two angles: as analysts (is this appeal effective? what makes it so?) and as a claimant or rhetorical agent, one who advances an argument. We have not taken the time to reflect on ourselves as members of the polis, members of the public audience . . . until now.

For this week's blog, please take some time to think about the following question:

What engages you?

As you prepare for your cohort's oral presentation, it is helpful to think about what it takes to engage an audience; your own experience as an audience can be a valuable resource. So what engages you? What techniques, approaches, etc. grasp your attention, hold your focus, get you interested, inspire you to think, to act, to question? Can you think of a specific, memorable time when you were fully 'engaged?' What lessons might you take from that experience as you approach your own oral presentation?

Having trouble? One alternative you might also wish to explore is what, for you, fails in public delivery? What is off-putting? What undermines engagement from your perspective as an audience member? What would be your personal list of don'ts?

Hopefully, this exercise will help you think about ways to approach your oral presentations . . . and offer others valuable advice, as well.

Bloggers, please post by Tuesday (April 14), midnight.
Respondents, you have until Saturday (April 18), midnight.

Collaborative Research Project Presentation Guidelines

Below you will find a version of the handout from today's class. ~CrS

An oral presentation, like everything we have done or studied in class this semester, is a rhetorical act; therefore, your presentation must evidence the same rhetorical awareness we have come to expect in any effective rhetorical act. Though less formal than a traditional oral presentation, the purpose of this assignment is multifaceted: to introduce your subject to an audience beyond your cohort; to gain experience articulating a complex project cogently and practice organizing in-process content; to introduce your subject to, and invite feedback from, an audience of your peers. The following guidelines, adapted for our purposes from Jan D'Arcy’s Technically Speaking: A Guide for Communicating Complex Information (1998), should help you as your prepare your presentation.

A. Organization and Development of Content

Opening statement gained immediate attention (estb. presence, ethos)
Purpose of presentation made clear (to inform, persuade, explore . . . )
Cohort made good use of the time allotted (no more than 10 minutes)
Main ideas stated clearly, logically, and with distinctive, appropriate style
Organizational pattern easy to follow/well organized
Main points explained or proved by supporting points
Variety of pistis (testimony, statistics, etc.) presented (depth, specificity, substance)
Conclusion adequately summed up main points, purpose

B. Delivery

Presenters “owned the space” and were in control
Held rapport with audience throughout speech
Eye contact to everyone in audience
Strong posture and meaningful gestures
Involved, in some meaningful way, all members of the cohort

C. Visuals

Visuals clear and visible to entire audience
Creative and emphasized main points
Presenter handled unobtrusively and focused on audience
Visuals did not compete with or usurp the presenters

D. Voice

Volume
Rate (pacing)
Pitch
Quality
Energetic and included everyone in dialogue

E. Comments

Invited discussion
Actively engaged the audience

Week 11 Cohort Conferences

Below I have proposed times when I would like to meet with you, as a cohort, to discuss your research projects. This will be the first of a few, and it is really an opportunity for a very focused, small-group discussion specific to your project, but also to your individuals goals for the class. For this first cohort conference, I anticipate meeting for approximately 30 minutes. Please be sure to communicate with all members of your cohort before you sign up: it is important that everyone can attend. If none of the times available work (note that there are more appointment times than cohorts), we can try to negotiate one that meets everyone's schedule.

I will honor your requests 'first come, first served.' You may post your preferences as a comment here (preferred) or you may e-mail me.


Wednesday, April 1

12:00 Major Differences

2:15 Word of MouF

3:00 The New Standard of Normalcy

Thursday, April 2

12:00 Pancakes

3:15 Girl's Eye View

4QE: The Final Individual Essay

Thus far this semester, we have examined several forms and genres and have analyzed, from a rhetorical perspective, the way each presents a unique argument—or, perhaps more accurately, how different forms or genres offer unique opportunities, unique presentations, of specific claims and thus employ different types of appeals. This assignment, your final Quarterly Essay, offers you the opportunity to apply everything we’ve discussed about language, rhetoric, and public argument and craft an original argument of your own. In order to tailor the assignment to your own personal and professional interests and needs, please choose from one of the following options:

Option 1: Creative Nonfiction Essay
The work you have done thus far this semester has been analytical, formal, academic; this assignment offers you the opportunity to ‘play’ a little by exploring writing as a craft rather than as a mere vehicle for communication. The writing you will do for this option does not depart entirely from the practice you've had through the first two quarterly essays nor from the work you have been doing in your cohorts toward the research project; in fact, writing creative nonfiction relies on or draws from many of the principles that guide formal academic writing and research. The difference lies in the subject matter, approach, style, and delivery—in brief, the writer=s rhetorical situation and purpose.

This option, therefore, asks that you attempt (essayer) a creative nonfiction essay of you own and offers you the opportunity to merge the discipline of research and analysis with the aesthetic qualities of creative writing and to write about a subject from a perspective and in a style that is entirely your own. As Gutkind advises, “Ultimately, the primary goal of the creative nonfiction writer is to communicate information, just like a reporter, but to shape it in a way that reads like fiction.” In this regard, our work with rhetorical tropes and schemes, types of appeals, kairos, and forms of public argument should serve you well; in short, rely on your rhetorical awareness when crafting your essay.

Your creative nonfiction essay should be focused and economical, and it should also be well developed and immediate. The approximate length for this assignment should be 7 to 10 pages, but let your subject be your guide.


Option 2: The Academic Expository Essay
Exposition is, in many ways, an academic institution in and of itself. Encompassing a variety of forms, or rhetorical modes—including narrative and description, process-analysis, comparison/ contrast, illustration, and, of course, the traditional argumentative or persuasive paper—expository writing seeks to examine, highlight, inform, and/or reveal something about a topic, issue, or problem. Most of you have used the form consistently in your blogs, and it is the genre you employed in your first two Quarterly Essays.

For this option, then, you have the opportunity to choose a topic and issue that you find relevant, timely, and interesting, and advance a unique public argument that explores, provides commentary about, or informs your audience about the subject.

This essay should provide a thorough examination of a subject from a unique and informed perspective; it should evidence a clear rhetorical purpose (as we have discussed throughout the semester). The approximate length for this essay should be 7 to 10 pages, but (as always) honor content over page length requirement.

Option 3: The Statement of Purpose/Personal Statement
This option is specifically designed for those of you who plan to go on to graduate or professional school, apply for internships or study abroad programs, et al. As part of the application process, most programs will ask that you craft a statement that represents your character and goals and gestures toward your interest and/or investment in their program. The key is understanding that the Statement of Purpose is your opportunity to not only introduce yourself to an admissions committee, but also to argue that you are a valuable potential candidate for the program, one that must not be overlooked.

The conventions for Statements vary from organization to organization; if you intend to continue your education, it is well worth your time to investigate the expectations of your chosen profession or desired program with regard to the application process—even if this is just a practice run. If you do not yet have a specific path in mind, then you may elect to write a general statement that you can later revise and tailor to meet the specific expectations of your application. The thing to remember is that this form, perhaps more than any other, is explicitly about ethos—your ethos. What will make you stand out as a unique and promising candidate among a large population of qualified, experienced, and enthusiastic competitors? The Statement of Purpose affords you some measure of control. A well-crafted Statement should run about two-pages, but bear in mind that these two pages will likely be the most economical, labor-intensive two pages you may ever write, and that the length expectations and limits will vary from program to program. For the purposes of this assignment, if you have no specific application guidelines, two pages is a reasonable metric.

"No, We Straight": Obama Racially Bilingual (from NPR's Talk of the Nation)

Audio for this story will be available at approx. 6:00 p.m. ET

Talk of the Nation, March 10, 2009 · In January, then President-elect Barack Obama visited Ben's Chili Bowl in Washington, D.C. When the cashier asked him if he wanted his change, he replied "Nah, we straight." [more]

In this broadcast, Dawn Turner Trice speaks brilliantly about the ways in which we adapt our speech to reach different audiences, noting that our use of language is only as effective as our audience's understanding of it. She talks about the importance of flexibility and adaptablility in speech and the use of vernacular in making ideas accessible--but also of the importance of being genuine, or avoiding affect, in doing so. At its core, it is a discussion about negotiating different communities of discourse.

In the language of our course, her discussion addresses balancing logos (text, words, and arrangement) with pathos (the audience's reception and response) and its effect on ethos (character, either genuine or affected).

I found the program to be an excellent supplement to the discussions we've been having in class, so if you have a few extra moments, I would strongly encourage you to listen in.

Enjoy!

Refining the Research Proposal: A Few Tips

I've received a few e-mails this weekend that express concern over meeting the page length requirements for the 3QE Research Proposal, so I thought I would offer some additional guidelines, including recommended page length projections per section, that may help allay your concerns and prompt your drafting. By all means, please continue to ask for clarification as the need arises.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Part of composition is thinking about how to develop, expand, and enrich ideas that at first glance seem fairly straightforward. The balance between cogency and detail is one key to effective writing. I would argue that any 'utterance' is much more complex than it seems, and thus, part of your job--especially in a proposal--is to ‘unpack’ those ideas, those utterances.

That said, here are a few tips and guidelines specific to this project proposal:

The most important thing to remember is that your proposal is, itself, an argument—not the argument you want to research and develop in your project, but an argument about pursuing the project; the proposal argues your plan, and it is an excellenttool for helpingyou imagine the scope of, and approach to, your project. Be sure to develop your claim and offer pisteis a-plenty.

Issue: 2-3 pages

It is not enough to speak in broad terms about your topic or to simply state your claim--you must propose it as a viable topic worthy of inquiry. Summarize the complexity of the issue and its scope. This is where you will discuss, in Bitzer’s terms, exigence. Convince your interlocutor, me in this case, that this project is worth your time and effort. In addition to identifying the issue, try answering these questions as you brainstorm:

* Why does the issue interest you?
* Why should other people be interested?
* What is your rationale for pursuing it?
* What is at stake?
* Why does the issue matter?
* What constraints will you face?
* Is this an existing issue, one that others have argued, or does it introduce a new issue?
* What resources are available? How accessible is the issue for you?
* Perhaps most importantly, what questions do you have about the issue?

Keep in mind that, though well developed, this is the overview of your project; you will provide specific details related to your project later in the proposal.

Position Focus: 1-2 pages

Here you will discuss your cohort's unique angle, approach, and investment in the issue and the ways you intend to explore the issue. Some questions to consider:

* If this is an existing argument, what makes your voice unique?
* What new approaches or perspectives do you have (or hope) to offer?
* Do you have experience with the issue? How is that experience relevant?
* What are the implications of your specific argument?
* What are your limitation and constraints?

Audience: 1-2 pages

As we have discussed, audience gets tricky with public argument (see ethos), and you should take some time to think critically about the following:

* Who is your intended audience?
* Who may be your peripheral or secondary audience?
* To whom will the project matter? In what way?
* How might different constituencies respond?
* What can you anticipate about your audience?

Purpose: 1-3 pages

Here you have the opportunity to talk extensively about your goals. In addition to thinking about your project’s objectives, rhetorical purpose, and priorities (see original guidelines), you might also consider the following in relation to the larger public argument:

* How is your project, your argument, situated?
* What role do you envision for your project?
* How much do you know about your issue as you begin?
* What are your personal goals fro the project? What do you hope to gain?

The more you can articulate about your goals, the more efficient and effective your time spent researching, planning, and drafting.

Genre: 1-2 pages

As we have been exploring in class, the form or genre you select for your project makes an argument of its own. As we move into the final half of the semester, we will begin a closer examination of form and genre. For now, though, it is a good idea to try to think critically about what form will best help you achieve your goals. As you research your issue, the form that best 'carrys' it may shift as needs be.

That said, it is good practice to at least consider the most effective system(s) of delivery for your unique argument. Consider,
* What form or genre will best support your overall rhetorical aims?
* To what forms or genres do you have access?
* How much of your time will need to be invested in learning the expectations
and conventions of your chosen form or genre?

Hopefully, these tips will help you imagine or (re)imagine the look of your proposal.

3QE: Collborative Research Proposal--Guidelines

As you draft your proposal, please consider and address the following:

ISSUE: With this project, you have the opportunity to engage a particular thread of public discourse, a unique public argument. Here, you may decide to respond or contribute to an existing public argument or introduce an issue for public awareness and dialogue.

POSITION FOCUS: How you approach the issue, your point of view, will be the core of the paper. It should be manageable, but thorough. It should engage the larger issue through a specific position or argument. It should represent your ethos, or in this case your group ethos, and your particular ‘take’ or ‘angle’ on the issue.

AUDIENCE: To whom will you address your argument? What do you know, or what can you anticipate, about your audience?

PURPOSE: What do you hope to achieve with this project? This question, too often overlooked in research projects, will influence every other decision you make about the project and will frame the project itself. Return to your answer often as you work through the project. Questions to consider:

a. Do you want to move your audience toward conviction or toward action?
b. Do you wish to

* Inform?
* Convince?
* Explore?
* Make decisions?
* Meditate or pray?
* Explore a mode of self-expression?

If you want to achieve a combination of the above, then how would you prioritize your goals?

GENRE: Public arguments enter the stream of discourse through a multitude of forms, each with a particular, distinctive purpose. The form you choose itself makes a rhetorical statement—don’t underestimate the power of form, and try to match your tone, focus, and approach to the form of presentation.

In choosing a genre for this project, you are limited only by your imagination and unique ability: don’t be afraid to take risks, to bring your talents to the table.

Cohorts will present their projects in medias res to the class on April 23.
Final projects are due in the final portfolio on May 11.

3QE: Collborative Research Proposal--Overview

What you write, the choices you make as you write, has implications well beyond the page, or in the case of “school” writing, beyond the assignment itself. The interrelation of the four modes of literacy—writing, reading, listening, and speaking—play out in social, political, ideological, and personal ways and milieux; it is difficult if not impossible to separate language from its context or contexts. When any writer shifts his or her focus too far toward mechanical correctness, he or she often loses sight of the fact that, at its very center, writing is a human act, laden with concerns of power, expression, communication, et al. Good writers tend to exhibit some understanding of this power in language; outstanding writers wield this power with an ease and grace that makes it seem almost intuitive, “natural,” inherent to writing itself. I argue that writing that is cognizant of its potential effects (or affects, as the case may be) is not a given but rather a deliberative process and the result of patience, honing, and practice; it is informed, involves careful observation, critical reflection, and rhetorical awareness. These qualities will serve you well as you engage public arguments and move toward the collaborative research project.

Research in composition and rhetoric involves a multiple-step, nonlinear process, one that begins with careful planning; articulates a specific, tangible position; builds a sophisticated system of support; and advances an original idea or fresh approach to achieve its objectives through fair, accurate, principled, and well-reasoned means.

To begin this project, which will carry you through to the end of the semester, you must first negotiate the scope of the project within your cohort. Please understand that as you investigate, the specifics of your project may shift; having a plan will contextualize your project and will aid you in the process of building your case and focusing your research. With that in mind, please address the following guidelines as you discuss the project within your cohort, and report your conclusions in the form of a project proposal, a brief essay (3QE) outlining your plan, due March 12 (via e-mail or dropbox).

Consider this . . . Week 7

This week's focus on Ellison's Invisible Man* provided an opportunity to think about fiction as a form of public argument. As an example of 20th century American literature, Ellison's novel stands as a literary masterpiece; as an example of public argument in time of drastic social and cultural change, it may be viewed as a rhetorical masterpiece. Given its spectacular complexity, please choose from one of the following options as you compose your blog posts for week 7:

Option 1: On Fiction

We spoke in class about the ways fiction works as a deliberate, purposeful craft and allows an author to have some level of control in designing character, plot, action, and situation. In well-crafted fiction, nothing is accidental; nothing is left to chance. In Ellison, this is evidenced in any number of ways, perhaps most notably in his naming of characters and places; the sightless, nameless FOUNDER, TRUEBLOOD, HOMER Barbee (who crafts/perpetuates the epic mythology of the founder and of Dr. Bledsoe), TOD Clifton (Tod meaning 'Death'), LIBERTY Paints, LUCIUS Brockway (Lucius, which means 'bringer of light')--all purposefully chosen; all 'work' to serve the narrative through direct, symbolic reference. We can see this level of attention throughout the novel. So in the context of rhetoric, how does fiction lend itself to public argument? And perhaps more importantly, what is your opinion of fiction as a form of public argument? What are its benefits? Its limitations?

Option 2:On Invisible Man

As we discussed, there are multiple interrelated arguments at play in Invisible Man, and if you choose, you should have the opportunity to comment on those we identified in class (related to identity, power, and/or democracy) or identify and explore another (i.e. those related to race, gender, economics, education, et al.). For this option, please offer your observations about an argument presented in this specific text.

* Instructor's note: I have found in organizing and typing the notes from our class discussion that doing so is no small project. I am working to create synopses of our discussion suitable for posting, and I will post them as a series as they are completed. Thank you for participating in such a rich and lively discussion of the text.

Consider this . . . Week 6

Given this week's discussion of the dissoi logoi and its implications for contemporary public arguments, as well as our discussion of Matt Miller's New York Times 4 June 2005 column, "Is Persuasion Dead?", this week's blog prompt asks that each of you take up the same question posed by Miller:

"Is persuasion dead? And if so, does it matter?" (emphasis added).

This is, of course, an important question, both in the context of our work in this class, which explores rhetoric and forms of public argument, and in the wider social context of a participatory democracy and media culture that is comprised of an abundance of information and and its organizational 'niches'(ideological, social, and political enclaves) and public 'figures' vying for prominence. So, given the benefits and drawbacks of the dissoi logoi and the complexity of our contemporary discursive culture, what's your take? Are our efforts to inform, explore, convince, and inspire worth the trouble?

Found rhetoric: syllepsis

Rhetorical figure permeates every aspect of language use, a phenomenon that not only points to our language's roots in an oral tradition (as we discussed in class) but also validates Hugo's argument that "once language exists only to convey information, it is dying."

Take, for example Ruth Fremson's NYT photo from 10 February 2009 (below).


A simple enough image, the President standing behind a canvas podium that reads "Making America Work," but what is striking is that in just three words, the event organizers advanced a much more complex argument, one that could be expanded a number of ways; still

"It is the responsibility of the country's elected and business leaders to protect opportunities for American workers (ostensibly through the proposed stimulus package), and it is the fortitude and productivity of America's workforce that is responsible for the nation's success"

doesn't fit nearly as well on a sign. Not the most economical use of language. . . nor does it hold the same appeal.

Enter syllepsis: recall that syllepsis is the rhetorical trope we discussed in class in which one word is used to modify, frame, or govern two or more other words. In this example, "work" is the word used in two different senses to frame "Making America" two different ways; it recasts the not only the meaning but also the grammatical construction and turns what could be a 40-word claim into a three-word, exponentially more effective, argument.

At once practical and beautiful, that, folks, is the power of language.

Consider this . . . week 4

Print advertising--the folks responsible for creating print ads are a rhetorician's dream. In medium where space is money, where you can believe that a team of markting professionals have exhausted every cost/benefit analytical tool at their disposal, where the importance of a strong, effective appeal can make or break a product (or even a business), there is little room for error: language and rhetorical appeals must be as effective--and as economical--as possble.

In class today, you partnered with one or two other(s) to collaborate on an analysis of a particular print ad. For Week 4's blog, please continue that analysis based on teh criteria we have covered in class thus far: identifying types of appeals, audience; observng and interpreting ethos and kairos; evaluating structures of reasoning (i.e. scan for logical fallacies), word choice (diction), arrangement (syntax), and figure (tropes and schemes).

In short, for week 4, complete as thorough a rhetorical analysis of the print ad you selected in class as you can.

2QE: Second Quarterly Essay

Throughout the first few weeks of class, we have been surveying rhetorical theory in order to better understand how language, and specifically argumentation, 'works.' To date, we have focused on identifying types of appeals and evaluating their efficacy, understanding the importance of an argument's 'situatedness,' grasping the complexity an importance of ethos, and evaluating the validity, ethicality, and sturucture of arguments. Tomorrow's class (2/5)will focus on learning more about the structure of language through rhetorical figure (tropes and schemes) as a way of observing and analyzing the relationship between craft, style, and efficacy and/or appeal.

Your second quarterly essay (2QE) asks that you apply these principles and attempt (essayer) a rhetorical analysis of your own; thus, the 2QE is not unlike the print ad analysis blog you will complete for week 4; in fact, your 2QE may be an expansion and revision of your blog exercise, should you decide to conmtinue your work from the week 4 exercise.

In short, you should select any public argument that interests you —that is, a specific, supported claim advanced in the public sphere—and evaluate it from a rhetorical perspective. In your analysis you should consider elements including, but not limited to kairos, rhetorical purpose, audience, type(s) of appeal(s), legitimacy of support (is it fallacious?), and overall effect (does it work?).

Next Tuesday (2/10) we will talk more specifically about rhetorical analysis as a methodology, so please refer to our class notes r/t rhetorical analysis to help support or guide your approach. This essay should result in a project that is approximately 4 to 6 pages in length (double-spaced) to start, but as always, please honor the content of your work over the length of the project: quality over quantity is our gold standard. If you have written a thorough, substantive analysis in three pages, or if you require eight, so be it. Please refrain from ‘fluffing’ or abridging your work at this stage in the drafting process.

Ethcial, Pathetic, and Logical Fallacies

The method by which we reason through complex ideas, through the use of language, is truly a remarkable craft. The arrangement of symbols to not only make meaning but to affect a particular rhetorical appeal is key in understanding how language works and in using it deliberately, responsibly, ethically, and effectively.

As we have discussed in class, what will be appropriate and effective in one situation may be inappropriate and counterproductive in another (i.e. in each case), which is one reason why understanding patterns and structures of logical proofs (pistis) is so important in the effective use of language. A well-crafted argument considers not just the kairos (the opportune or appropriate moment in which one situates and advances a claim), but also the method by which an argument is structured and supported. Once understood as a craft, Aristotle's classification of pisteis (proofs) as entechnic (artistic) and atechnic (non-artistic) becomes clearer: we use the materials and data available (atechnic pistis) to craft (entechnic pistis) an appeal.

When inadvertent, fallacies hinder the efficacy of language and compromise its ability to achieve its objectives; when used delberately, fallacies apply rhetorical mechanisms without consideration for ethics to achive an objective through unfair, unprincipled, or inaccurate means (as with propaganda, for example). While the compendium of specific logical, pathetic, and ethical fallacies is vast, they all turn on the same basic structures of reasoning: deductive (i.e. syllogistic and enthymematic) and inductive (i.e. probabilistic).

[Please refer to your class notes for specific examples and definitions of structures of reasoning and logical, ethical, and pathetic fallacies.]

Given the power--and often the consequences--of language, taking time to parse the logical structures of an argument, be it one you are crafting and andvancing or one you are receiving, may be one of the most valuable practices you can adopt.

Consider this . . . Week 3

As this course is designed to offer substantial instruction and practice across various modes of literacy by directly engaging public argument, the blog project offers each of you the opportunity to do just that: now that each cohort has named and configured a blog, you are now prepared to advance public arguments of your own.

Each week, I will post a prompt, related to our class discussions and/or current events, for bloggers and respondents to consider (i.e. the “Consider this . . .” series of posts). These prompts are designed to frame your work within the context of our course and guide your approach, but you are welcome to explore any subject or text you choose. My hope is that you can tailor these blog posts and responses to your own personal and professional interests, making them relevant to and representative of your unique perspectives and experiences.

Please keep in mind that those who post this wek should do so by midnight Tuesday, February 3; respondents should post their work by midnight Saturday, February 7.

Without further ado . . .

Consider: ethos

In his treatise On Rhetoric, Aristotle argues that ethos “should result from the speech, not from a previous opinion that the speaker is a certain kind of person” (1.2.42), which is in many ways a practical and fair suggestion. In contemporary practice, public arguments—especially those advanced by ‘public figures,’ be they well-known writers, celebrities, public servants, or ‘talking heads’—are often inextricable from the character or reputation of the person or group advancing the argument. This presents an interesting problem: to what degree can we discount reputation? Should we? When you judge ethos (i.e. the credibility of a given speaker/author), do your conclusions depend more on the speaker’s reputation or on the particular rhetorical moment/act (or both, and in what measure)?

Welcome, Spring 2009

Welcome, newcomers, to the Engaging the Polis blog. This project, now beginning its second semester, brings the writing we do for class to a broader, more public, forum. This space will serve as the 'hub' through which you may link to your and/or other cohorts' blogs, but it will also serve as a shared space where I will routinely post summaries of class discussions, lecture notes, et al. relevant or supporting material that is appropriate to share in an open-access forum. Those enrolled in class as well as visitors to our site(s) are welcome to post comments, submit questions, and share related materials.

By way of introduction, here are some questions will explore this semester, taken from today's class:

What is rhetoric?

Aristotle defines rhetoric as "having the ability, in each case, to see the available means of persuasion" (from On Rhetoric, Book I, Chapter 2, 1-2). We will spend more time explicating this definition and exploring how it works in a contemporary context.

In his 1776 Philosophy of Rhetoric, George Campbell advanced this definition of rhetoric: "the art or talent by which the discourse is adapted to its end[. . .]the ends [ . . .] reducible to four; [. . .] to enlighten the understanding, to please the imagination, to move the passions, or to influence the will." This last 'end,' "to influence the will," cogently reveals the power of language and literacy and the central importance of ethics in rhetorical practice, something we will explore in depth throughout the semester.

Given these definitions (there are, of course, a corpus of others we will also consider), it is clear that rhetoric is concerned with argument and persuasion; it involves both agency and reception and, therefore, often involves opposition . . .but opposition is not always necessary: as the rhetorician and scholar Andrea Lunsford offers, rhetoric may be used for a variety of purposes, to

Inform
Convince
Explore
Make Decisions
Meditate or Pray

and I would add to that list,

to Facilitate Self-expression.

Throughout the semester, we will return to these claims, test them, and understand how and when they might be accurate or inaccurate. By the end, I hope you will have developed your own perspectives about the scope, purpose, and limits of rhetoric.

What is a polis?

Strictly speaking, a polis refers to the Ancient Greek city-state, but it is also used to describe a 'social organization,’ a 'public,' or a 'body of citizens.' We will employ all of these definitions in our study of rhetoric and writing.

What do we mean by 'public argument' and what are its forms?

With this, I am hoping to understand rhetoric not only in the strict academic sense, but as it relates to our everyday experiences and interactions. Topics and issues advanced in the public forum, however we define 'public,' are fair game. While topics may range from the serious and the contentious, the local and the global, the popular and the esoteric, understand that there is also room for levity.

The method by which these topics are carried are the forms we will discuss; the form, then, is one method “by which discourse is adapted to its end” and is, therefore, rhetorical. Indeed, if, as Lunsford suggests, ‘everything is an argument,’ then there are almost endless opportunities to explore themes, topics, or issues that are important, relevant, and useful to you during your engagement with this project.

So, once again, welcome. I look forward with optimism to what's in store.

1QE: First Quarterly Essay

As we addressed in class, this course invites you to engage in public debate and discussion; therefore, as an opening exercise, please write a brief (2-3 page, or thereabouts) essay that describes and argues a claim that is important to you. Consider this: if you were to become known for advancing a particular cause or for trumpeting a particular issue, what would it be? What matters to you enough to talk to others about it? What might be your own personal "soap-box" argument?

Please turn in your typed essays in class on Thursday, January 22. See you then!