1. Reading and Writing in the 21 st century CONTEMPORARY RHETORIC

2.  Audience: For Whom is this piece being written? Why?  Purpose: Why is this being written? Why?  Subject: About What is this being written? Why?  Context: What is the situation surrounding the writing?  Aim: To what end is this being written? THE RHETORICAL BASICS

3.  The Rhetorical Situation  Exigence: What were the circumstances surrounding the original delivery and/or publication of the piece? What was the imperative for writing the piece?  Audience: For whom was the piece written?  Purpose: Why did the author write the speech/work? DAVID JOLLIFFE’S RHETORICAL FRAMEWORK DIAGRAM

4.  The Three Appeals:  Logos: The logical arrangement of the piece  Does the argument make sense?  Ethos: The credibility the author has. Is the author credible or ethical enough to be reliable about the subject?  Is the author believable?  Pathos: The emotion the writer tries to elicit from the audience. How does the speaker try to make you empathize with the piece?  What does the piece make you feel? DAVID JOLLIFFE’S RHETORICAL FRAMEWORK DIAGRAM

5.  Organization/Structure/Form  Fiction or nonfiction?  Poetry or prose?  Spoken or written?  The possibilities are endless, but each one means something different for how you should read or write. DAVID JOLLIFFE’S RHETORICAL FRAMEWORK DIAGRAM

6.  Surface Features  Diction: Word Choice  Why does the writer choose specific words?  Syntax: Sentence Structure  What does the sentence structure reveal about what the writer thinks/wants to emphasize? DAVID JOLLIFFE’S RHETORICAL FRAMEWORK DIAGRAM

7.  Surface Features (Continued):  Imagery: Language that appeals to the five senses  What sensation is the writer exploiting?  Figurative Language  Metaphor  Simile  Personification  (Synecdoche)  (Metonymy) DAVID JOLLIFFE’S RHETORICAL FRAMEWORK DIAGRAM

8.  Turn to a partner  Tell that person 2-3 things you did not know before we went through this presentation thus far  Tell that person two questions you have about what we just learned  Use a post-it to post any questions you still have about the lesson so far PAIR SHARE TIME

9. “If you cannot write well, you cannot think well; and if you cannot think well, others will do your thinking for you.” –George Orwell RHETORICAL MODES

10.  Descriptive Writing  Tells how something looks, feels, sounds, smells, or tastes  Narrative Writing  Tells a story.  Shows or tells “what happened”  Focuses on events, actions, adventures, and the narrator’s response READING/WRITING/THINKING CONNECTIONS AND THE TRADITIONAL RHETORICAL MODES

11.  Expository Writing  Problem-Solution  Example  Comparing and contrasting  Definition  Cause and Effect  Classificatory READING/WRITING/THINKING CONNECTIONS AND THE TRADITIONAL RHETORICAL MODES

12.  Argument:  Seeks agreement, advises, or moves the reader to take some action.  To some degree, all writing is argument because the writer always tries to persuade or convince readers that they should listen to the writer. READING/WRITING/THINKING CONNECTIONS AND THE TRADITIONAL RHETORICAL MODES

13. “How do I know what I think until I see what I say?” –E.M. Forster ESSAY WARNING SIGNS

14. 1.The Place Holder Introduction – “I am the Presenident of … and I believe that…” 2.The Restated Question Introduction – “Yes, I believe that people work better when they are empowered.” 3.The Dictionary Introduction – “Empowerment can be defined as…” 4.The Dawn of Man Introduction – “I a world ruled by darkness and oppression…” 5.The Unrelated, Cliché, or Overused Quotation Introduction – “I believe quality is better than quantity.” FIVE KINDS OF LEADS TO AVOID

15.  Paper is too Short:  Focus is usually too broad, creating vague, superficial discussions of the topic. Narrow the topic and the claim so that you can dig into the specifics and discover the complexities.  General rule: the narrower your focus, ironically, the more you will have to say (because you have to deal with specifics).  Paragraphs tend to be too Short:  Your idea is not developed. An idea or claim was most likely introduced, but evidence and warranting for it are probably missing. Explain fully how you developed your idea. Use specifics, details, illustrations, and examples.  Bottom Line: Explain Your Thinking HOW TO READ THE “WARNING SIGNS”

16.  Paragraphs tend to be very long (over a page):  This is usually a sign of disorganization and too many ideas in one paragraph.  Separate out the important ideas and give them each a paragraph to develop; give them space for evidence and warranting that they deserve.  Several paragraphs end with quotations:  Shows a general tendency to use sources simply as “back-up.” Quotations are being used to end a conversation rather than the more analytical choice of beginning a conversation.  When quotations end paragraphs, it usually means that the writer is expecting the evidence to speak for itself (which it rarely does). HOW TO READ THE “WARNING SIGNS”

17.  Lots of long block quotations in the body of the essay:  Shows a general tendency that the writer is not in control of the source being used. Quotations begin to take over the paper and the writer is often not explaining why the quotations are there, what they mean, and how they connect to the writer’s ideas.  No quotations or paraphrasing:  Essay does not integrate sources or has not acknowledged the sources being integrated. Does the assignment ask for integration of sources? If yes, then matter needs to be attended to. Check the purpose of the assignment. If sources have been integrated but not documented, the writer has committed plagiarism, which is a serious academic offense. All sources need citation. HOW TO READ THE “WARNING SIGNS”

18.  All paraphrase but no quoting:  Sources are integrated but only in paraphrase form. In this case, there is a tendency for the use of sources to be vague and general; the writer is probably skimming the surface of critical arguments rather than digging into the complexities. Determine what key points need actual direct quotation reference.  Extensive use of “I think…,” “It seems…,” “This might indicate…”  This usually reflects a tendency towards indecision. It’s fine to qualify your ideas but if the essay is constantly waffling and hesitating, then you’re probably chickening out of saying what you really want to say. HOW TO READ THE “WARNING SIGNS”

19.  Turn to a partner  Tell that person three things you did not know before we went through this presentation thus far  Tell that person two questions you have about what we just learned  Make one analogy for the new material you just learned __________ is to __________ as __________ is to __________. EX: Monkeys are to Bananas as Horses are to Hay. SUMMARY TIME – 3-2-1 BRIDGE

20. When people read rhetorically… when they engage in rhetorical analysis, they not only react to the message, but they appreciate how the producer of that message is conveying the message to a particular audience too, whether that intended audience includes the analyst or not. --Jack Selzer RHETORICAL ANALYSIS

21.  Reading and writing analytically are not rocket science.  Examine any text.  Determine both:  Meanings, purpose, and effects  How the parts work together to achieve the meanings, purpose, and effects 5 POINTS ON RHETORIC

22.  All textual analysis is ultimately rhetorical analysis. 5 POINTS ON RHETORIC

23.  Reading and writing analytically are important scholastic & real-world skills that have been at the center of learning & knowing for 2500 years:  Rhetoric is discovery.  It is the power behind reading, writing, speaking, and criticism 5 POINTS ON RHETORIC

24.  A good grasp of rhetoric makes “good citizen”; a good citizen is an “informed citizen.” 5 POINTS ON RHETORIC

25.  Analytical reading is something thoughtful people do every day. 5 POINT ON RHETORIC

26.  Is the diction formal or informal?  Does the writer use I or you or we?  Are there any contractions?  Does the text use any specialized jargon?  Are the sentences long, short, varied, periodic, loose, standard subject-verb-object or subject- verb-complement? SOME QUESTIONS

27.  Are they primarily in active voice?  If there are any passive voice sentences, how do they function?  Are there any visual, aural, tactile, gustatory, or olfactory images?  Are there any schemes?  What do the schemes do—add, omit, provide parallel balance, provide antithetical balance? SOME QUESTIONS

28.  Are there any tropes?  What are the principal metaphors being used?  How are comparisons and contrasts brought about by tropes other than metaphor?  Can we detect irony or sarcasm? SOME QUESTIONS

29.  So what? So what do the diction, syntax, imagery, and figurative language, mediated through the organization of the whole text, do to the establishment of logos, ethos, pathos, and/or tone? THE BIG QUESTION

30.  What is the rhetorical situation? What is the rhetorical situation?  Who is the author/speaker? Who is the author/speaker?  What is his/her intention in speaking? What is his/her intention in speaking?  Who makes up the audience? Who makes up the audience?  What is the content of the message? What is the content of the message?  What is the form in which it is conveyed? What is the form in which it is conveyed?  How do form and content correspond? How do form and content correspond?  Does the message/speech/text succeed in fulfilling the author’s or speaker’s intentions? Does the message/speech/text succeed in fulfilling the author’s or speaker’s intentions?  What does the nature of the communication reveal about the culture that produced it? What does the nature of the communication reveal about the culture that produced it? BASIC QUESTIONS FOR RHETORICAL ANALYSIS

31.  What occasion gives rise to the need or opportunity for persuasion?  What is the historical occasion that would give rise to the composition of this text? WHAT IS THE RHETORICAL SITUATION?

32.  How does he or she establish ethos (personal credibility)?  Does he/she come across as knowledgeable? Fair?  Does the speaker’s reputation convey a certain authority? WHO IS THE AUTHOR/SPEAKER?

33.  To attack or defend?  To exhort or dissuade from certain action?  To praise or blame?  To teach, delight, or to persuade? WHAT IS HIS/HER INTENTION IN SPEAKING?

34.  Who is the intended audience?  What values does the audience hold that the author or speaker appeals to?  Who have been or might be secondary audiences?  If this is a work of fiction, what is the nature of the audience within the fiction? WHO MAKES UP THE AUDIENCE?

35.  Can you summarize the main idea?  What are the principal lines of reasoning or kinds of arguments used?  What topics of invention are employed?  How does the author or speaker appeal to reason? To emotion? WHAT IS THE CONTENT OF THE MESSAGE?

36.  What is the structure of the communication; how is it arranged?  What oral or literary genre is it following?  What figures of speech (schemes and tropes) are used?  What kind of style and tone is used and for what purpose? WHAT IS THE FORM IN WHICH IT IS CONVEYED?

37.  Does the form complement the content?  What effect could the form have, and does this aid or hinder the author’s intention? HOW DO FORM AND CONTENT CORRESPOND?

38.  For whom?  Does the author/speaker effectively fit his/her message to the circumstances, times, and audience?  Can you identify the responses of historical or contemporary audiences? DOES THE MESSAGE/SPEECH/TEXT SUCCEED IN FULFILLING THE AUTHOR’S OR SPEAKER’S INTENTIONS?

39.  What kinds of values of customs would the people have that would produce this?  How do allusions, historical references, or kinds of words used place this in a certain time and location? WHAT DOES THE NATURE OF THE COMMUNICATION REVEAL ABOUT THE CULTURE THAT PRODUCED IT?

40.  Turn to a partner  Tell that person three things you did not know before we went through this presentation thus far  Tell that person two questions you have about what we just learned  Make one analogy for the new material you just learned __________ is to __________ as __________ is to __________. EX: Monkeys are to Bananas as Horses are to Hay. SUMMARY TIME – 3-2-1 BRIDGE

41. The quietness of his tone italicized the malice of his reply. -Truman Capote TONE

42.  When describing tone, be as specific as possible.  Words with specific meanings help make your explanation more clear:  Disdainful is better than bad  Indignant instead of sad  Lugubrious instead of dark  Effusive instead of happy DESCRIBING TONE

43. AdmiringClinicalDetachedHaughtyLearnedPassiveSentimental AgitatedColloquialDeterminedHopefulLightheartedPatronizingSnooty AngryCompassionateDidacticHumbleLugubriousPedanticSolemn AnnoyedComplimentaryDiffidentImpartialManipulativePersuasiveSomber ApatheticConcernedDisdainfulIncisiveMelancholicPettySoothing ApologeticCondescendingDisgustedIndignantMiserablePretentiousSympathetic ApprehensiveConfidentDramaticInflammatoryMock-HeroicRespectfulTaunting AuthoritativeConsolingEcstaticInformativeMock-SeriousRestrainedTurgid BanteringContemptuousEffusiveInquisitiveMockingRomanticUrbane BenevolentContentiousElegiacInsipidMoralisticSarcasticUrgent BitingContradictoryFacetiousInsolentMournfulSardonicVibrant BrashCynicalFactualInstructiveNeutralSatiricWhimsical CandidDejectedFancifulIronicNostalgicScholarlyWistful CheeryDesperateFlippantIrreverentObjectiveScornfulWorshipful TONE WORDS