Brighton's Study Guide PDF

Total 100 points 60 multiple choice (1 point each): Much of this will consist of questions you have already seen on the weekly quizzes. 15 fill in the blank (2 points each) 2 explanation of concepts (5 points each) Intro and Rhetorical Analysis Chapters 1 and 2 Basic definitio...

Total 100 points 60 multiple choice (1 point each): Much of this will consist of questions you have already seen on the weekly quizzes. 15 fill in the blank (2 points each) 2 explanation of concepts (5 points each) Intro and Rhetorical Analysis Chapters 1 and 2 Basic definitions of rhetoric - The art of persuasion - The available means of persuasion - The strategic use of communication oral or written to achieve specific goals Content vs. Form - Content → the message, argument, or idea expressed through the form - Form → a texts organization, tone, syntax, and style - Content is the message, form is the structure Rhetorical triangle - Ethos (speaker/rhetor) - Logos (text/message) - Pathos (audience) Aristotle’s proofs (pisteis) - Means of persuasion - Logos → logic, reasoning, rationality - Ethos → appeal to good character, credibility - Pathos → emotional appeals Canons of Rhetoric (invention, style, delivery, arrangement, etc.) - Invention: The process of coming up with ideas and arguments for your message. Example: Deciding what to say in a speech. - Style: How you express your message (e.g., the language and tone you use). Example: Using formal language in a business presentation. - Delivery: The way you present or speak your message (e.g., body language, voice, and gestures). Example: Speaking confidently and clearly in front of an audience. - Arrangement: The order and structure of your message. Example: Organizing a speech with an introduction, main points, and conclusion. - Memory: The process of memorizing and recalling your message.Example: Remembering your speech without reading from notes. Form - How something is organized / put together Rhetorical Situation essay (PDF) 3 constituents of Bitzer’s model - Audience → must be capable of taking action is response to the exigence - Exigence → must be capable of being modified by discourse - Constraints → person, events, objects, and relations that have the power to constrain decision and action needed to modify the exigence Narrative Criticism Chapter 3 Features of narrative (characters, setting, narrator, etc.) Features of Narrative - Characters: The people or beings in the story. They drive the action and are usually the focus of the narrative. Example: Harry Potter in Harry Potter. - Setting: The time and place where the story occurs. It helps set the mood and context. Example: The magical world in Harry Potter. - Narrator: The voice that tells the story. It could be a character in the story or an outside observer. Example: The narrator in The Great Gatsby tells the story from Nick’s point of view. - Plot: The sequence of events that happen in the story. Example: In Cinderella, the plot includes the stepsister’s cruelty, the fairy godmother’s magic, and the prince’s search for Cinderella. - Conflict: The main problem or challenge the characters face.Example: In The Hunger Games, the conflict is Katniss fighting to survive. Functions and assumptions of narrative analysis Functions of Narrative Analysis: - Understanding meaning: Figuring out what the story is trying to say. - Studying influence: Looking at how stories make us feel or think. - Identifying themes: Finding the big ideas or lessons in the story. Assumptions of Narrative Analysis: - Stories reflect culture: Stories show what’s important to society. - Stories are purposeful: Every part of the story (like characters or setting) helps to tell its message. - Stories have a structure: Stories usually have a beginning, middle, and end to make sense. Definition of narrative, theme, narrative fidelity, coherence; kernels and satellites Theme - a subject, (issue/question) that recurs in a narrative Narrative fidelity - does the story “ring true” to who you see the world Coherence - does the story “hang together”, or is it consistent? Kernels - events and actions essential to the plot; big turning points in the story Satellites - unessential pieces of the story; function to provide more depth Myths; Cultural Narratives - Myths → narratives that address a communities ultimate questions, express a communities spiritual meaning, that's the way it is values truths assumptions and expectations, establish morality, provide expectation for that cultures reality - Cultural narrative → talking about the importance of stories, narratives that reoccur or circulate within a culture that are repeatedly told, establish what a community believes is normal, probable, and reasonable Burkean Dramatism Chapter 4 Rhetoric of Hitler’s ‘Battle’ essay (PDF) - Identifies his techniques for creating identification among german people - Inborn indignity - Projection device: scapegoating, creating of common enemy - Symbolic rebirth: goal - Commercial use: noneconomic interpretation of economic ills Burke’s Four Master Tropes (PDF) - Metaphor → we take a perspective on a subject, metaphor forces a particular way of seeing, talking about something in reference to another thing, it has two parts 1) The tenor: the subject to which attributes are ascribed 2) The vehicle: the object from whom the attributes are borrowed Ex. that man is a pig, man is the tenor and pig is the vehicle - Metonymy → reduces abstract, general ideas into something concrete, tangible, and specific Ex. the white house stands in for the president, the crown stands for royalty, monarchy - Synecdoche → form of substitution in which a part is used for the whole or whole is used for the part Ex. asking for someone's “hand” in marriage, or “headcounting” students - Irony → statements that imply something other then their ostensible meaning - Since the meaning is other than the expected or intended meaning Pentadic criticism (different elements, how to conduct a pentadic criticism) - Act: What happens (e.g., a speech). - Scene: Where and when it happens (e.g., a political rally). - Agent: Who does it (e.g., the politician giving the speech). - Agency: How it's done (e.g., using a microphone or slides). - Purpose: Why it's done (e.g., to persuade voters). - How to use it: Identify the five parts in the text or event, look at how they relate: How does the setting (scene) affect the action (act)? Why did the person (agent) do it? Understand the motivation: What’s the purpose behind the action? Key Terms: Identification, cluster analysis, literature as equipment for living, terministic screens, perspective by incongruity  - Identification → the most important rhetorical theory that Burke gives us since aristotle, new rhetoric; includes partial unconscious factors, through your communication if someone speaks like you, you begin to identify with them. You can use this to manipulate or persuade them - Terministic screens → the words or labels we use that affect how we see and understand things. They act like filters, shaping our view of reality. - Identification → is when a speaker makes the audience feel like they have something in common. It’s when the audience starts to relate to the speaker because they share similar values, experiences, or beliefs. - Cluster analysis → when you look for repeated words or ideas in a text to see what themes or messages are being emphasized. - Literature as equipment for living → means that books, stories, and art help us understand life and deal with problems by giving us ideas or lessons - Perspective by incongruity → when something is shown in a surprising or unexpected way to make people think differently about it. Generic/Genre Criticism Chapter 5 Genre PDF - Generic description → “mapping” a genre with the analysis of several discourses - Generic participation → determining whether a particular text is or is not a member of a genre - Generic application → mapped elements become standard by which to evaluate a particular text (ex. Does it successfully conform to the genre?) Differences in approaches - Description, Participation, Application - Genre → fluid categories humans create that group discourses, such us action movies, romance novels, and policy speeches - Genre criticism → a method for analyzing genres and how a culture creates and uses them Deliberative, epideictic, forensic; Apologia; Jeremiad - Deliberative: Focuses on future actions, often persuading an audience about what should or should not happen (e.g., political speeches). - Epideictic: Focuses on praising or blaming, usually seen in ceremonial speeches like eulogies or award ceremonies. - Forensic: Focuses on determining justice, often seen in legal contexts (e.g., courtroom speeches). - Apologia: A type of speech or text that offers a defense or justification for an action or belief. - Jeremiad: A type of speech or writing that laments a problem in society and calls for moral or social reform. Ideological Criticism Chapter 7 Hegemony; Ideographs - Theory to explain how average people support ideological commitments; many ideologies primarily benefit elites, etc. so why buy into the status quo? - Consent is readily given to the dominant ideological belief system - The masses accept and share the ideology of the elite Implied audiences (personas) - First persona → what a discourse implies about its rhetor - Second persona → what a discourse implies about its audience; provides a model for what the rhetoric wants the audience to be / become - Mangold & Goehring: NFL essay - Central argument → How sports perpetuate ideologies Winslow essay Key Terms: stylistic tokens; - Clearly communicate ideology; repeated, emphasized symbols (words, phrases, visuals) that conjure up particular associations Metaphoric Criticism Chapter 6 Definition of and functions of metaphor - A trope that works by imagining one thing as another thing, so that something unfamiliar, abstract, or complex is reimagined as something familiar, concrete, or simple - They must each be from different domains - Communicate ideas and concepts in striking and memorable ways Vehicle, Tenor (and terms synonymous with them) - Tenor → the abstract, complex, or unfamiliar idea that the metaphor has reimagined or made known to the audience - Vehicle → the familiar, concrete, or simple idea through which the tenor is imagined Ex. my roommate is a nightowl, time is money, war is hell Nightowl, money, and hell are vehicles to which we can understand the roommate, time, and war Osborn - Archetypal criticism and examples (PDF) - He started to reconceive a metaphor as not simply a literary device but as an event that occurs in the minds of listeners, often with important consequences for attitude and action. - Metaphor is an adventure in interpretations; audience feels tension - We must close the semantic difference by considering contextual clues  - Qualifiers: consciousness of recent events, surrounding text of messages,ethos, and presentational dynamics of the speaker, susceptibilities of the listeners, and deeper cultural configurations. Consequences of using metaphor Feminist Criticism Chapter 8 Intersectionality, performativity, patriarchy; privilege, sexism and power - Intersectionality →the concept that one's gender is shaped by one's race, ethnicity, class, nationality, physical ability, sexuality, ideology, religion, etc. your identities shape your experiences - Performativity → we perform masculinity, femininity, etc. Through behaviors, actions, communication,etc. Gender is anything but “natural”, gender is not something someone is, but something one does, if gender is something someone does, it can be undone - Patriarchy → the term for the dominant, hegemonic, process and ideology; systematic - Privilege → sexism uses unearned advantages, also known as privileges, typically unnoticed by those of us who experience them - Sexism → hegemonic system that ranks people, valuing masculinity over femininity, and affects who has power and how that power is used in society - Power → 2 different ways power is enacted within hegemonic system of sexism 1) Institutionalized operations of the state: consists of laws and policies through which the governments and organizations regulate society; top-down power 2) Disciplinary power: ubiquitous power through 3 principles - Power is everywhere: Power isn’t just in laws or government; it’s in everyday life and relationships. - Power isn't just from the top down: Power can come from social norms and expectations, not just authority figures. - Power keeps oppression going: Systems like sexism or racism keep power in certain hands by making it seem normal. Questions to ask of the text - Who has power in this text? - How is power shown or used? - How does the text show gender and other identities? - Does it stick to traditional gender roles or challenge them? - What ideas or systems are being supported or criticized? - Does the text reinforce or question things like sexism, privilege, or power Audience Rhetoric Direct and indirect audience - Direct → the particular audience that a speech is directed toward  - Indirect → the overall audience to whom a speaker may appeal Universal audience - Aspiring to agreement from a more “universal” audience. Ex. Barbie had an appeal to many audiences and had themes + aspects that transcended one niche audience Encoding/Decoding - Rhetors encode meaning in creation of rhetoric; audience must decode that meaning Three types of codes - Dominant hegemonic code → wholly accept the meanings encoded; relationship with the text is one of acceptance - Negotiated code → accept part of the meaning while rejecting or qualifying other aspects; relationship with the text is complicated - Oppositional code → rejection of the meaning of the discourse; relationship with the text is antagonistic Key Terms: Interpellation; paratexts, polysemy; polyvocal - Interpellation → certain rhetorical texts constitutes the identity of those addressed; incorporated into the dominant ideology through their participation with a text - Paratexts → Paratexts are things that go along with a main text to help explain or frame it. They aren’t part of the main content but help you understand it better. Ex. A book cover or title, a movie trailer, an introduction or preface in a book. - Polysemy → a word, image, or text can have multiple meanings and that meaning isn’t fixed—it can change depending on context or the audience. - Polyvocal → having multiple voices or perspectives within a single work or text. Visual Rhetoric Chapter 10 Visual Culture; Visuality - Visual culture → Cultural practices of seeing: habits that inform what we pay attention to, how we see, and how we interpret what we see / The notion that the visual dominates our current cultural landscape. A field of knowledge which emphasizes the generalized condition and place of the visual within a particular culture or historical conjecture - Visuality → the condition of everyday life in which a social context, interaction, and power are enacted through the visual / sight as a social fact Visual Narrative; Ideographs - Visual narrative → Verbal narratives rely on a plot structures and chronology / are visual texts that achieve narratives structures through layered and interconnected meanings that coalesce into a story - Ideographs → in our field, we often call photographers that serve as such ideographs “iconic photographers” / widely circulated and recirculated; sometimes alternative forms, but still recognizable Visual metaphors – juxtaposition, fusion, substitution - Visual metaphors → there are 3 kinds 1) Substitution: when only on the objects, either the tenor or vehicle is presented 2) Fusion: when one object or part of an object superimposed on another so that both objects are at least partially visible 3) Juxtaposition → is when the object that serve as tenor and vehicle are both present, but separated Looking through, Considering point of view, Placing image in context - Looking through → process in which critics suspend beliefs, pausing between seeing and believing in order to understand what the visual entity asks viewers to know or believe and how it makes this invitation - Considering point of view → the perspective through which audience members are invited to look at the visual text / How does the image direct attention? - Placing an image in context → make sure the image is analyzed in the way it is presented (as a magazine, spread, on a billboard, online, etc.) Rose Chapter 2 (PDF) Four Sites, Three Modalities - Towards a critical visual methodology 4 sites 1) Production → technology as a means of production help determine form, meaning, and effect 2) Image itself → argues that compositionality is most important here 3) Circulation → how and where the movement of the image takes place 4) Audiencing → process by which the image has its meanings renegotiated, or even rejected - Each sites have different aspects called modalities 1) Technological → any form of apparatus designed to be looked at or to enhance natural vision 2) Compositional → specific material qualities to an image or visual object 3) Social → range of economic, social, and political relations, institutions and practices that surround an image and through which it is seen and used Partial List of Key Terms (Know them and love them!) Audience - discourses are always addressed to an audience - must be capable of being influenced; and must be capable of acting as mediators of change Text - Anything that communicates a message. It doesn’t have to be written; it can also be visual, spoken, or multimedia. Context  - Refers to the situation or background surrounding a text or communication. It includes the factors that influence how the message is created, delivered, and understood. Exigence - Must be capable of being modified by discourse - The reason or problem that prompts someone to create a message or take action. It’s the urgency or need that drives communication. Enthymeme - A type of argument in rhetoric where one part of the reasoning is left unstated, and the audience fills in the gap. It’s like a shortened syllogism. Form - How something is organized / put together Syllogism - a way of making a logical argument with three steps: 1) A general truth (major premise). 2) A specific example (minor premise). 3) A conclusion that follows. Ethos Pathos Logos Ideology - a system of beliefs, values, or ideas that shapes how people see the world and make decisions. Hegemony - the dominance of one group’s beliefs, values, or ideas over others in a way that feels natural or accepted by society. Patriarchy - a social system where men hold more power and authority than women and other genders. It influences structures like families, workplaces, governments, and cultures. Deliberative - what is the most expedient, or advantageous… what should be done - Legislative - Determine future action/policy - Act as a judge, deciding what is best in terms of policy Forensic  - Accusation or defense - Law courts - Determine guilt or innocence for past event - Act as judge rendering decision about past event Epideictic - Demonstration of virtue or vice; prompts thought and attitude in audience - Public ceremonies like funerals, commemorations, etc. - Demonstrate what is honorable or decry what is shameful - Audience members are theorion or spectators Narrative - An account (real or fictional) or related events - The telling of a story; the representation - We use stories/narratives to interpret events, people, and the world around us Synecdoche - form of substitution in which a part is used for the whole or whole is used for the part Metonymy - Reduces abstract, general ideas into something concrete, tangible, and specific Irony - Statements that imply something other then their ostensible meaning - Since the meaning is other than the expected or intended meaning Metaphor - A trope that works by imagining one thing as another thing, so that something unfamiliar, abstract, or complex is reimagined as something familiar, concrete, or simple Narrative fidelity - Does the story “ring true” to how you see the world Narrative rationality - The logical consistency of a story, focusing on coherence and plausibility. Rhetor - The person, group of people, or organization that creates and presents a rhetorical address Pentad - A tool created by Kenneth Burke to analyze and understand how people explain actions or events. It breaks a situation into five parts to explore motivations and relationships. Agency - A person's capacity to act - make decisions with real world effects - Critics recognize their own role (Agency) in shaping a text Reflexivity - Recognition that everyone has positionality: specific beliefs, knowledge, values, and political goals that develop based on one's experiences and the course of one's life - We are located in different social positions Tenor - The subject to which attributes are ascribed - The abstract, complex, or unfamiliar idea that the metaphor has reimagined or made known to the audience Vehicle - The object from whom the attributes are borrowed - The familiar, concrete, or simple idea through which the tenor is imagined