RhetorClick - User contributions [en]

User:CJ

2011-05-01T21:07:28Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

'''Contribution History:'''

*'''3/8''': Created [[Geographical Map of Authors]] page.
*'''4/30''': Added terms to [[Glossary]], did minor edits for organization and format.
*'''5/1''': Added content and started formatting [[Geographical Map of Authors]] page. Alphabetized [[Directory]] page.

User:CJ

2011-05-01T21:07:01Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

'''Contribution History:'''

*'''3/8''': Created [[Geographical Map of Authors]] page.
*'''4/30''': Added terms to glossary, did minor edits for organization and format.
*'''5/1''': Added content and started formatting [[Geographical Map of Authors]] page. Alphabetized [[Directory]] page.

User:CJ

2011-05-01T21:06:35Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

'''Contribution History:'''

*'''3/8''': Created [[Geographical Map of Authors]] page.
*'''4/30''': Added terms to glossary, did minor edits for organization and format.
*'''5/1''': Added content and started formatting [[Geographical Map of Authors]] page. Alphabetized [[Site Directory]] page.

Barthes, Roland "Death of the Author"

2011-05-01T21:01:39Z

CJ:

“Death of the Author” by [[Roland Barthes]] discusses and criticizes the emphasis literary critics place on the author while offering an alternative emphasis. The article claims that many have tried to break the idea that so much weight of discourse lies upon the authors. The examples include Mallarme’s attempt to suppress the author in poetics and Valery’s stress on linguistics and the text. Barthes claims that nothing is original because it all comes from already constructed dictionary from which all write. The dictionary, he also asserts, is just a “tissue of signs imitation that is lost, infinitely deferred.” Then, Barthes states that putting an author on the text limits it and potential interpretations. He further states that the existence of writing is “a text...made of multiple writings, drawn from many cultures and entering into mutual relations...” All of this multiplicity is thus focused in the readers. They are the ones that have to power to make a variety of different interpretations, emotions, and hold all the traces of text of which the text being read consists. The author can only understand and convey his/her own interpretation. Therefore, “the birth of the reader must be at the cost of the death of the Author.”

Brent, Douglas "Rogerian Rhetoric: An Alternative to Traditional Rhetoric"

2011-05-01T21:01:23Z

CJ: Created page with "This article is in need of a summary."

This article is in need of a summary.

Article Summaries

2011-05-01T21:00:49Z

CJ:

*[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]
*[[Baron, Dennis "From Pencils to Pixels: The Stages of Literacy Technology"]]
*[[Barthes, Roland "Death of the Author"]]
*[[Brent, Douglas "Rogerian Rhetoric: An Alternative to Traditional Rhetoric"]]
*[[Bryant, Donald C. "Rhetoric: Its Functions and Its Scope"]]
*[[Burke, Kenneth "Definition of Man"]]
*[[Corder, Jim W. "Argument as Emergence, Rhetoric as Love"]]
*[[Foucault, Michel "What Is an Author?"]]
*[[Halloran, Michael S. "On the End of Rhetoric: Classical and Modern"]]
*[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]
*[[Johnson-Eilola, Johndan “Negative Spaces: From Production to Connection in Composition”]]
*[[Logie, John “Champing at the Bits: Computers, Copyright, ad the Composition Classroom”]]
*[[Lunsford, Andrea and Lisa Ede "On Distinctions between Classical and Modern Rhetoric"]]
*[[Ohmann, Richard “In Lieu of a New Rhetoric”]]
*[[Palmquist, Mike, Kate Kiefer, James Hartvigsen, and Barbara Goodlew "Contrasts: Teaching and Learning about Writing in Traditional and Computer Classrooms"]]
*[[Perelman, Chaïm "The New Rhetoric: A Theory of Practical Reasoning"]]
*[[Richards, I.A. "How to Read a Page"]]
*[[Saussure, Ferdinand de "Nature of the Linguistic Sign"]]
*[[Scott, Robert L. "On Viewing Rhetoric as Epistemic"]]
*[[Selfe, Cynthia L. & Richard J. Selfe Jr. "The Politics of the Interface: Power and Its Exercise in Electronic Contact Zones"]]
*[[Slatin, John M. "Reading Hypertext: Order and Coherence in a New Medium"]]
*[[Sorapure, Madeleine, Pamela Inglesby, and George Yatchisin "Web Literacy: Challenges and Opportunities for Research in a New Medium"]]
*[[Toulmin, Stephen "The Layout of Arguments"]]
*[[Weaver, Richard "The Cultural Role of Rhetoric]]
*[[Williams, Sean D. "Part 2: Toward an Integrated Composition Pedagogy in Hypertext"]]
*[[Yancey, Kathleen Blake "Looking for Sources of Coherence in a Fragmented World: Notes toward a New Assessment Design"]]
*[["CCCC Position Statement"]]

Douglas Brent

2011-05-01T21:00:30Z

CJ:

Douglas Brent is a professor in the Department of Communication and Culture at the University of Calgary. His teaching and research centers on rhetoric and writing studies with emphasis on padagogy. He is the Vice President of the Canadian Association for the Study of Discourse and Writing. Previously he was Director of the University of Calgary's Writing Program and Undergraduate Program in Communications Studies. He also used to be the Associate Dean of the Faculty of Communication and Culture (now the Faculty of Arts).

== Article Summaries ==

[[Brent, Douglas "Rogerian Rhetoric: An Alternative to Traditional Rhetoric"]]

== Additional Resources & Reading ==
[http://people.ucalgary.ca/~dabrent/ Douglas Brent Home Page]

'''Works:'''

Geographical Map of Authors

2011-05-01T20:57:35Z

CJ:

This page groups together authors based on their country.

==America==
*[[Dennis Baron]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Richard Ohmann]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[John M. Slatin]]
*[[Madeleine Sorapure]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

==Canada==
*[[Douglas Brent]]

==England==
*[[I. A. Richards]]
*[[Stephen Toulmin]]

==France==
*[[Roland Barthes]]
*[[Michel Foucault]]

==Poland==
*[[Chaim Perelman]]

==Russia==
*[[Mikhail Bakhtin]]

==Switzerland==
*[[Ferdinand de Saussure]]

Geographical Map of Authors

2011-05-01T20:56:54Z

CJ:

This page groups together authors based on their country.

==America==
*[[Dennis Baron]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Richard Ohmann]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[John M. Slatin]]
*[[Madeleine Sorapure]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

==Canada==
*[[Douglas Brent]]

==England==
*[[I.A. Richards]]
*[[Stephen Toulmin]]

==France==
*[[Ronald Barthes]]
*[[Michel Foucault]]

==Poland==
*[[Chaim Perelman]]

==Russia==
*[[Mikhail Bakhtin]]

==Switzerland==
*[[Ferdinand de Saussure]]

Geographical Map of Authors

2011-05-01T20:54:06Z

CJ: Created page with "This page groups together authors based on their country. ==America== *Dennis Baron *Donald C. Bryant *Kenneth Burke *Jim W. Corder *Lisa S. Ede *[[S. Micha..."

User:CJ

2011-05-01T20:45:10Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

'''Contribution History:'''

*'''3/8''': Created [[Geographical Map of Authors]] page.
*'''4/30''': Added terms to glossary, did minor edits for organization and format.
*'''5/1''': Added content and started formatting [[Geographical Map of Authors]] page.

Geographical Map of Articles

2011-05-01T20:44:13Z

CJ: Blanked the page

Glossary

2011-04-30T21:09:18Z

CJ: /* T */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:08:55Z

CJ: /* P */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:07:48Z

CJ: /* K */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:07:21Z

CJ: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:06:44Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:06:14Z

CJ: /* C */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T21:04:20Z

CJ: /* A */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

User:CJ

2011-04-30T21:03:35Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

'''Contribution History:'''

*'''3/8''': Created [[Geographical Map of Articles]] page.
*'''4/30''': Added terms to glossary, did minor edits for organization and format.

User:CJ

2011-04-30T21:02:03Z

CJ:

Much like everyone in the class I'm an English Writing & Rhetoric major. My emphasis is Creative Writing and I basically have an undeclared minor in Theatre Arts. I'm graduating in May and I'm absolutely terrified and ecstatic at the same time. I'm looking to get a job in Publishing or Advertising while I'm trying to get my own stuff published. I'm actually taking Theories with Brother John this semester as well, so I hope I won't be too lost in this class! And as for my break...well, I guess the most interesting thing I did was teach myself how to knit!

*'''4/30''': Added terms to glossary, did minor edits for organization and format.

Glossary

2011-04-30T21:00:07Z

CJ: /* S */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:55:04Z

CJ: /* P */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pejorative''': a word or phrase that has negative connotations or that is intended to disparage or belittle: a pejorative word or phrase (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Phonemes''': any of the abstract units of the phonetic system of a language that correspond to a set of similar speech sounds (as the velar \k\ of cool and the palatal \k\ of keel) which are perceived to be a single distinctive sound in the language (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:50:03Z

CJ: /* N */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:49:19Z

CJ: /* N */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:49:08Z

CJ: /* N */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences," by Mikhail Bakhtin]])
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:47:02Z

CJ: /* O */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:46:38Z

CJ: /* O */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Orthographic''': projection of a single view of an object (as a view of the front) onto a drawing surface in which the lines of projection are perpendicular to the drawing surface (see [["Nature of the Linguistic Sign," by Ferdinand de Saussure]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:45:16Z

CJ: /* O */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])
*'''Organon''': an instrument for acquiring knowledge; specifically: a body of principles of scientific or philosophic investigation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:43:35Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:41:44Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:40:54Z

CJ: /* S */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see[["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:40:40Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see[["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:40:21Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Imbued''': to permeate or influence as if by dyeing (see[["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:37:41Z

CJ: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:36:51Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:36:09Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:34:50Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Inventio''': the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:34:30Z

CJ: /* I */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==
*'''Inventio - the system or method used for the discovery of arguments in Western rhetoric (see[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:32:13Z

CJ: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:31:47Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:30:45Z

CJ: /* A */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition [["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:27:29Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:26:58Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric [["On Distinctions between Classical and Modern Rhetoric," by Andrea A. Lunsford and Lisa S. Ede]]
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:26:30Z

CJ: /* C */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:26:00Z

CJ: /* C */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items [["On Distinctions between Classical and Modern Rhetoric"]]

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:24:24Z

CJ: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])
*'''Esperanto''': an artificial international language based as far as possible on words common to the chief European languages

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:23:23Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric
*'''Diachronic''': of, relating to, or dealing with phenomena (as of language or culture) as they occur or change over a period of time

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-30T20:22:47Z

CJ: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (see [["How to Read a Page" by I. A. Richards]])
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (see [["How to Read a Page" by I. A. Richards]])
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Antithetical''': being in direct and unequivocal opposition

== B ==

*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])

== C ==

*'''Chariot allegory''': Socrates compares the soul to chariot horses and their rider. He believes the soul (chariot rider) is immortal and consists of one good horse and one bad horse. The soul is in constant struggle balancing and choosing between the two horses. Through the good soul only, the chariot can make it to eternity or heaven. (Weaver [[February 15 Class Notes]])
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])
*'''Close Reading''': Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards [[February 1 Class Notes]])
*'''Compendia''': a brief summary of a larger work or of a field of knowledge; a list of number items

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Doxa''': social knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Dispositio''': the system used for the organization of arguments in Western classical rhetoric

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ethos''': The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Etymologically''' (Burke [[January 27 Class Notes]])

== F ==

== G ==

== H ==
*'''Hypertext''': Ted Nelson, who coined the term hypertext, defines it as non-sequential writing. "This means writing in which the logical connections between elements are primarily associative rather than syllogistic, as in conventional text" (Slatin 171). (Slatin [[March 22 Class Notes]])

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])
*'''Inter-Textual Variations''': On the inter-textual level, text is structured through alphanumeric cues (headings, numbers), spatial cues (horizontal and vertical distribution of text on a page) and graphic cues (bullets, arrows, lines on tables) (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Intra-Textual Variations''': local changes in typography, such as boldfacing, upper case, italics, etc (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text]).
*'''Supra-Textual Structuring''': affects the document globally, with section titles, page headers, tabs, page size, orientation, the placement of extra-textual elements (e.g. data display and pictures), icons, page color, and various line, textures, and marks. Supra-textual cues create visual coherence among units in a document (see [https://pantherfile.uwm.edu/alred/www/pdf/kostelnick-rhetoricoftext.pdf Rhetoric of Text])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== M ==

== N ==

*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])

== O ==

*'''Object''': the action you take (Peirce [[January 25 Class Notes]])

== P ==

*'''Paradeigma''': use of example or evidence to prove a point [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pathos''': the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Poeis''': fine arts [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])
*'''Representame'''n: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce [[January 25 Class Notes]])
* Rhetoric: (see [[Definitions of Rhetoric]])

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== T ==

*'''Techne''': art, craft ([["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==