1. Communications & Homiletics (CL2)
*Thursdays, 1-3 PM, Jan Mar. 10, 2015
*Required Text: 12 Essential Skills for Great Preaching, Wayne McDill - $325 pesos
Ross Arnold, Winter Lakeside institute of Theology

2. Policies and Requirements
Classes are free, but all students seeking a certificate or degree must purchase books (paper, not electronic), which will be made available by the Institute.
Students in certificate or degree tracks may miss no more than one class per course, without arrangements made in advance with the teacher to make up missed work (at the discretion of the teacher).
Students in certificate or degree tracks will be required to take a pass/fail final exam in each course, based on study guidelines provided by the teacher.
Students in certificate or degree tracks must make a passing grade (based on "pass/fail") in each course in order to receive credit towards a certificate or degree.
Candidates for degrees (Master of Theology and Master of Theology & Ministry) must be approved by the Institute Director before final admission into a degree program.

3. Policies and Requirements for making up classes, or taking classes online (as of April 3, 2014):
All make-up classes must be completed before the beginning of the following term, unless you make special arrangements with the professor.
All classes made up online must be reported via to as follows:
Each class much be reported in a separate as soon after watching as possible.
Each must contain the following information:
Course title and/or code (NT4, OT3, TH2, etc.).
The date of the original lecture you missed.
The title of the lecture.
A clear statement that you watched all of the lecture video, reviewed the materials and completed the required readings.
Courses taken entirely online require prior approval, and apply only to audit or Certificate (not degree) requirements.

4. Communications & Homiletics (CL2)
Jan. 29 – Introduction to Rhetoric
Feb. 5 – Invention (finding the meaning)
Feb. 12 – Arrangement (organizing)
Feb. 19 – Style (answering real questions)
Feb. 26 – Memory (preparing to present)
Mar. 5 – Delivery (the presentation)
Mar. 12 – The Act of Preaching and Teaching
Mar. 19 – Applying the Principles; Final Exam

5. Return to Classical Education
The Seven Classical Liberal Arts
The Trivium
Logic (the mechanics of thought and analysis)
Grammar (the mechanics of language)
Rhetoric (the use of language to instruct and persuade a listener or reader)
The Quadrivium
Arithmetic (properties & operations of numbers)
Geometry (properties of numbers in space)
Music (numbers in time, expressed as sound)
Astronomy (numbers in space and time, as manifested in celestial bodies)

6. Rhetoric – the use of language (logic + grammar)
Rhetoric – the use of language (logic + grammar) to instruct & persuade a listener or reader.
The Five Canons of Rhetoric (per Aristotle)
Invention – evaluating your purpose and developing the argument or message. (What do you want or need to say, and why do you need to say it?)
Arrangement – organizing the argument or message for best effect. (How do I structure and organize my message to best communicate with this audience?)
Style – determining how best to present the argument or message. (By what approach can I best communicate this message to this audience?)
Memory – learning and/or memorizing the argument or message. (How can I be best prepared to effectively deliver this message to this audience?)
Delivery – the gestures, pronunciation, tone and pace used when presenting. (In the most practical terms, how can I best present this message?)
Rhetoric /’rɛtərɪk/is the art of discourse, an art that aims to improve the capability of writers or speakers to inform, persuade, or motivate particular audiences in specific situations. As a subject of formal study and a productive civic practice, rhetoric has played a central role in the European tradition. Its best known definition comes from Aristotle, who considers it a counterpart of both logic and politics, and calls it "the faculty of observing in any given case the available means of persuasion.“
WHY some down through the centuries have not thought well or Rhetoric, and especially have not thought it appropriate for Christian communications…
*Used by Greek philosophers, especially the Sophists, who originated Greek Rhetoric and were famous for claiming that rightness or wrongness were not really germane to a good argument, for using words to twist meaning, especially in the cause of politics they favored, to advocate for immorality they wanted to practice, and to further their opposition to Greek religion and worship. (“Man is the measure of all things.”)
Some people think the idea of speaking TO PERSUADE is somehow not appropriate for Christians, as though it implies manipulation of some kind.
“All interpersonal communication is an attempt to persuade.” DO YOU AGREE, OR NOT?
The five canons of rhetoric, which trace the traditional tasks in designing a persuasive speech, were first codified in classical Rome: invention, arrangement, style, memory, and delivery.
Inventio (INVENTION), one of the five canons of rhetoric, is the method used for the discovery of arguments in Western rhetoric and comes from the Latin word, meaning "invention" or "discovery". Inventio is the central, indispensable canon of rhetoric, and traditionally means a systematic search for arguments.[1]
A speaker uses Inventio when he or she begins the thought process to form and develop an effective argument. Often, the invention phase can be seen as the first step in an attempt to generate ideas or create an argument that is convincing and compelling. The other four canons of classical rhetoric (the others being dispositio, elocutio, memoria, and pronuntiatio) rely on their interrelationship with invention.
Dispositio (ARRANGEMENT) is the system used for the organization of arguments in Western classical rhetoric. The word is Latin, and can be translated as "organization" or "arrangement.“ It is the second of five canons of classical rhetoric (the first being inventio, and the remaining being elocutio, memoria, and pronuntiatio) that concern the crafting and delivery of speeches and writing.
The first part of any rhetorical exercise was to discover the proper arguments to use, which was done under the formalized methods of inventio. The next problem facing the orator or writer was to select various arguments and organize them into an effective discourse.
Aristotle defined two essential parts of a discourse: the statement of the case and the proof of the case. For example, in a legal argument, a prosecutor must first declare the charges against the defendant and provide the relevant facts; then he must present the evidence that proves guilt. Aristotle allowed that in practice most discourse also requires an introduction and a conclusion.
Elocutio (STYLE) is the term for the mastery of stylistic elements in Western classical rhetoric and comes from the Latin loqui, "to speak". Although today we associate the word elocution more with eloquent speaking, for the classical rhetorician it connoted "style".
It is the third of the five canons of classical rhetoric (the others being inventio, dispositio, memoria, and pronuntiatio) that concern the crafting and delivery of speeches and writing. Beginning in the Renaissance, writers increasingly emphasized the stylistic aspects of rhetoric over the other divisions of rhetoric.
An orator or writer had a number of things to decide in developing a style for a particular discourse. First, there was the level of style; plain (attenuata or subtile), middle (mediocris or robusta), or high (florida or gravis). Writers were instructed to match the basic style to their subject matter and their audience. For instance, Quintilian in his Institutio Oratoria deemed the plain style suitable for instruction, the middle for moving oration, and the high for charming discourse. Today, we associate elocution and rhetoric with the last of these styles, but for rhetoricians, each style was useful in rhetoric.
The ancient authors agreed that the four ingredients necessary in order to achieve good style included correctness, clearness, appropriateness, and ornament.
Sometimes translated as “purity”, correctness meant that rhetors should use words that were current and should adhere to the grammatical rules of whatever language they wrote. Correctness rules are standards of grammar and usage drawn from traditional grammar.
In regard to clarity, most ancient teachers felt that clarity meant that rhetors should use words in their ordinary or everyday senses. The object of clarity was to allow meaning to “shine through”, like light through a window.
Appropriateness probably derives from the Greek rhetorical notion to prepon, meaning to say or do whatever is fitting in a given situation. Ancient teachers taught that close attention to kairos will help to determine the appropriate style.
The last and most important of the excellences of style is ornament, which is defined as extraordinary or unusual use of language. Ornamentation was divided into three broad categories: figures of speech, figures of thought, and tropes. Figures of speech are any artful patterning or arrangement of language. Figures of thought are artful presentations of ideas, feelings, concepts; figures of thought that depart from the ordinary patterns of argument. Tropes are any artful substitution of one term for another.
Memoria (MEMORY) was the term for aspects involving memory in Western classical rhetoric. The word is Latin, and can be translated as "memory."
The art of rhetoric grew out of oratory, which was the central medium for intellectual and political life in ancient Greece. Legal proceedings, political debates, philosophical inquiry were all conducted through spoken discourse. Many of the great texts from that age were not written texts penned by the authors we associate them with, but were instead orations written down by followers and students. In Roman times, while there was a much greater body of written work, oration was still the medium for critical debate. Unlike public speakers of today, who use notes or who read their speeches, good orators were expected to deliver their speeches without such aids.
Memoria was the discipline of recalling the arguments of a discourse. It generally received less attention from writers than other parts of rhetoric, as there is less to be said about the subject. However, the need to memorize speeches did influence the structure of discourse to some extent. For example, as part of dispositio, some attention was paid to creating structures (such as the divisio, an outline of the major arguments of a discourse) that would also aid memory. Some writers also discussed the use of various mnenomic devices to assist speakers.
But rhetoricians also viewed memoria as requiring more than just rote memorization. Rather, the orator also had to have at his command a wide body of knowledge to permit improvisation, to respond to questions, and to refute opposing arguments. Where today's speech-making tends to be a staged, one-way affair, in former times, much oration occurred as part of debates, dialogues, and other settings, in which orators had to react to others. Moreover, rhetoricians also recognized that the credibility of a speaker depended not just on the strength of his prepared arguments, but on the audience's perceptions of the speaker. In Greece, Rome, and the Renaissance, a speaker's familiarity of many areas of learning was seen as a virtue.
Pronuntiatio (DELIVERY) was the discipline of delivering speeches in Western classical rhetoric. It is the one of five canons of classical rhetoric (the others being inventio, dispositio, elocutio, and memoria) that concern the crafting and delivery of speeches. In literature the equivalent of ancient pronuntiatio is the recitation of epics (Aris. Po ).
As with memoria, the canon that dealt with the memorization of speeches, pronuntiatio was not extensively written about in Classical texts on rhetoric. Its importance declined even more, once the written word became the focus of rhetoric, although after the eighteenth century it again saw more interest in the works of men such as Gilbert Austin. In public speaking today, it may be somewhat over-emphasized, but that is probably more because other parts of rhetoric are downplayed.
Rhetoricians laid down guidelines on the use of the voice and gestures (actio) in the delivery of oratory. There were instructions on the proper modulation of the voice (volume and pitch), as well as the phrasing, pace, and emphasis of speech. Also covered were the physical aspects of oration: stance, gestures, posture, and facial expressions. There was also the concept of exercitatio (or practice exercises) that enabled speakers to both memorize their speeches and to practice their delivery.
This excerpt from Quintilian's Institutio oratoria provides an example of the types of advice provided by rhetoricians:
"The head, being the chief member of the body, has a corresponding importance in delivery, serving not merely to produce graceful effect, but to illustrate our meaning as well. To secure grace it is essential that the head should be carried naturally and erect. For a droop suggests humility, while if it be thrown back it seems to express arrogance, if inclined to one side it gives an impression of languor, while if it is held too stiffly and rigidly it appears to indicate a rude and savage temper." (Institutio oratoria, XI iii 68-69, translated by H. E. Butler, Loeb Classical Library, 1922) While the content, structure, and style of oration were (and continue to be) the most important elements of oratory, there is no doubt that effective delivery enhances its persuasive power, and that poor delivery detracts greatly from its intended effect.
Delivery is based on the technology of the times. During Cicero's time, delivery was predominantly speaking. Written delivery developed because of the written language, and now delivery is both spoken and written. Technology has taken away the distinctions between written and oral delivery.
Written discourse did not become important until reading became more common. Because the ancients did not use punctuation, their writing consisted of one long stream of words called scriptio continua. During the editing process, modern rhetors must go through three stages: correctness rule, formatting, and presentation. Writers face more problems than speakers because they must be conscious of spelling, punctuation, and grammar. Punctuation is useful in written discourse because it marks the end of a thought and allows the reader to pause and process the information. Visual rhetoric focuses on images and how words function as images. The delivery of ocular demonstration is the use of words to produce mental images in the audience. Textual presentation allows the writer to grab the reader's attention before actually reading the text based on the appearance of the text.
Along with grammar and logic (or dialectic—see Martianus Capella), rhetoric is one of the three ancient arts of discourse.
From Ancient Greece to the late 19th century, it was a central part of Western education, filling the need to train public speakers and writers to move audiences to action with arguments. The word is derived from the Greek ῥητορικός rhētorikós, "oratorical", from ῥήτωρ rhḗtōr, "public speaker", related to ῥῆμα rhêma, "that which is said or spoken, word, saying", and ultimately derived from the verb ἐρῶ erō, "I say, I speak"

7. Rhetoric – the use of language (grammar + logic)
Rhetoric – the use of language (grammar + logic) to instruct & persuade a listener or reader.
The Three Types of Rhetoric Proof (per Aristotle)
Ethos – how the character and credibility of a speaker can influence an audience to consider him or her to be believable. (intelligent, moral, presentable, of good reputation, trustworthy)
Pathos – the use of emotional appeals to alter the audience’s judgment through metaphor, amplification, storytelling, or presenting the topic in a way that evokes strong emotions in the audience.
Logos – the use of reasoning, either inductive or deductive, to construct an argument.
Rhetorics typically provide heuristics for understanding, discovering, and developing arguments for particular situations, such as Aristotle's three persuasive audience appeals, logos, pathos, and ethos.

8. Communication – the purposeful activity of exchanging information and meaning across space and time by various means.
Communication Theory –formal study of the technical process of human communication, including composing, sending, receiving and interpreting information and meaning.
Source – an information source that creates a message.
Sender/Transmitter/Speaker – the once who initiates the and encodes the signal transmission to another.
Message – the content being communicated.
Channel – the medium used to transmit the signal.
Receiver – the one receiving and decoding the signal transmission.
Interference – anything which prevents transmission of the message, and/or accurate correlation between the intended message and the received message.

9. Homiletics – the application of the general principles of Rhetoric to the specific department of public preaching.
or, The composition and delivery of a sermon or other religious discourse.
Preaching – the act of delivering religious truth, or giving religious or moral instruction or exhortation, for the purpose of touching people’s hearts and changing lives.
Teaching – the act of providing instruction or direction, for the purpose of increasing people’s knowledge and understanding.

10. How to do it better (tips from Ross)…
A bored teacher or preacher is a boring teacher or preacher. If you can’t do it with interest and energy, then perhaps you shouldn’t be doing it.
Preaching and teaching Scripture is a calling from God, but YOU decide whether you will fulfill that call well or poorly.
Don’t ever get into the pulpit unless you think you have something to say that the people need, and that God wants them to hear. On that day, at that time, your are NOT like everyone else.
Don’t wait until you get into the pulpit to receive God’s inspiration; he can and will inspire you earlier in the week, if you’ll get to work.
You’re the preacher/teacher, so act like it! We don’t
just want to hear what someone else thinks.

11. How to do it better…
You don’t have to know everything, so don’t try to act as though you do. (The power of “I don’t know.”)
You know far more than you think.
Know more than you say, or you’ll go way too long and won’t have anything with which to answer questions.
People can read; they don’t need you to read to them.
You won’t become a better speaker unless you do it.
Preach to or teach to whoever shows up.
If people leave or fall asleep when you’re speaking, don’t assume you’ve failed; maybe they just remembered an appointment or needed the rest.
Don’t expect everyone to agree with you. Ultimately it is not up to you.