https://rhetorclick.com/index.php?feed=atom&target=Chelsea&title=Special%3AContributions%2FChelseaRhetorClick - User contributions [en]2026-04-22T11:04:13ZFrom RhetorClickMediaWiki 1.16.1https://rhetorclick.com/wiki/User:ChelseaUser:Chelsea2011-05-12T21:17:36Z<p>Chelsea: </p>
<hr />
<div>My name is Chelsea. I am a senior at St. Edward's University and am currently enrolled in Current Theories. For that reason, I am creating an account on this website. I will be graduating in May of 2011.<br />
<br />
Hello Professor Warnick,<br />
<br />
The following are the contributions that I made to the Wiki:<br />
<br />
* I started on the article summaries page from my responses and made some edits; I posted most of the summaries.<br />
* I sent an email to the class asking for them to use their reading responses and put up the remaining summaries. <br />
* I added a few words to the glossary<br />
* I fixed up links between pages to try to get it more organized and going to where they were meant to<br />
* I organized the authors page under letters in alphabetic order<br />
* I set up a layout for the authors pages and filled some stuff in<br />
* I attached one authors page to their already made wiki page but decided to stop after that because people had worked for a couple hours on it and did not want to step on toes.<br />
* I investigated a timeline with Kelli and go all of the birth dates and some information on the authors, but unfortunately, it didn't work out because Wikipedia doesn't have much of a visual component in its set up and it would have not been effective.<br />
<br />
Thanks for a great semester!<br />
<br />
Chelsea</div>Chelseahttps://rhetorclick.com/wiki/Toulmin,_Stephen_%22The_Layout_of_Arguments%22Toulmin, Stephen "The Layout of Arguments"2011-05-08T19:46:36Z<p>Chelsea: /* Key Terms */</p>
<hr />
<div>In “The Layout of Arguments,” [[Stephen Toulmin]]’s thesis is that a new framework is needed for argumentation, as an alternative to the syllogism. The framework (or layout) he proposes involves a claim made due to some data, a warrant (often implicit) given to support the inference of the claim from the data, possibly a qualification added to the claim along with conditions of exception, and backing supplied to provide sufficient grounds for a warrant. Toulmin claims that the syllogism is too ambiguous because, for instance, universal premises (such as “All men are mortal”) do not properly distinguish between warrant and backing. Additionally, with a syllogism one cannot always tell whether a universal premise is true only in theory or in existential, empirical fact. Toulmin explains that logicians have too long relied on the syllogism and that in doing so they have forced arguments into a mold that doesn’t take into account subtle distinctions.<br />
<br />
== Notable Quotes ==<br />
<br />
*"It is at this physiological level that the idea of logical form has been introduced, and here that the validity of our arguments has ultimately to be established or refuted" (105).<br />
<br />
*"The existence of considerations such as would establish the acceptability of the most reliable warrants is something we are entitled to take for granted" (115).<br />
<br />
*"No entirely general answer can be given to the question, for what determines whether there are or are not existential implications in any particular case is not the form of statement itself, but rather the practical use to which this form is put on that occasion" (123).<br />
<br />
*"If we are to set our arguments out with complete logical candor, and understand properly the nature of the 'the logical process,' surely we shall need to emply a pattern of argument no less sophisticated than is required by law" (107). <br />
<br />
* "Even the most general warrants in ethical arguments are yet liable in unusual situations to suffer exceptions, and so at strongest can authorize only presumptive conclusions" (125).<br />
<br />
== Key Terms ==<br />
<br />
[http://4341.quinnwarnick.com/wiki/Glossary#S Syllogism]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Glossary#W Warrant]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Glossary#B Backing]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Glossary#D Datum]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Glossary#M Modal Qualifiers]</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-08T19:46:16Z<p>Chelsea: /* M */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
*'''Backing''':<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Datum''':<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?"] by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
*'''Modal Qualifiers''':<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
*Warrant:<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-08T19:45:36Z<p>Chelsea: /* D */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
*'''Backing''':<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Datum''':<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?"] by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
*Warrant:<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-08T19:45:04Z<p>Chelsea: /* B */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
*'''Backing''':<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?"] by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
*Warrant:<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-08T19:43:43Z<p>Chelsea: /* W */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?"] by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
*Warrant:<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/AuthorsAuthors2011-05-08T03:13:27Z<p>Chelsea: </p>
<hr />
<div>All authors are organized by their last names. Just click on the corresponding letter.<br />
<br />
== A ==<br />
<br />
== B ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mikhail_Bakhtin Bakhtin, Mikhail]<br />
*[http://en.wikipedia.org/wiki/Dennis_Baron Baron, Dennis]<br />
*[http://4341.quinnwarnick.com/wiki/Roland_Barthes Barthes, Roland]<br />
*[http://4341.quinnwarnick.com/wiki/Brent_Douglas Brent, Douglas]<br />
*[http://4341.quinnwarnick.com/wiki/Donald_C._Bryant Bryant, Donald C.]<br />
*[http://4341.quinnwarnick.com/wiki/Kenneth_Burke Burke, Kenneth]<br />
<br />
== C ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Jim_W._Corder Corder, Jim W.]<br />
<br />
== D ==<br />
<br />
== E ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Lisa_S._Ede Ede, Lisa S.]<br />
<br />
== F ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michel_Foucault Foucault, Michel]<br />
<br />
== G ==<br />
<br />
== H ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michael_S._Halloran Halloran, Michael S.]<br />
*[http://4341.quinnwarnick.com/wiki/Bill_Hart-Davidson Hart-Davidson, Bill]<br />
<br />
== I ==<br />
<br />
== J ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Johndan_Johnson-Eilola Johnson-Eilola, Johndan]<br />
<br />
== K ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Steven_D._Krause Krause, Steven D.]<br />
<br />
== L ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/John_Logie Logie, John]<br />
*[http://4341.quinnwarnick.com/wiki/Andrea_A._Lunsford Lunsford, Andrea A.]<br />
<br />
== M ==<br />
<br />
== N ==<br />
<br />
== O ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Ohmann Ohmann, Richard]<br />
<br />
== P ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mike_Palmquist Palmquist, Mike]<br />
*[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Perelman, Chaim]<br />
<br />
== Q ==<br />
<br />
== R ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/I._A._Richards Richards, I. A.]<br />
<br />
== S ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Ferdinand_de_Saussure Saussure, Ferdinand de]<br />
*[http://4341.quinnwarnick.com/wiki/Robert_L._Scott Scott, Robert L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Cynthia L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Richard J. Jr.]<br />
*[http://4341.quinnwarnick.com/wiki/John_M._Slatin Slatin, John M.]<br />
*[http://4341.quinnwarnick.com/wiki/Madeleine_Sorapure Sorapure, Madeleine]<br />
<br />
== T ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Stephen_Toulmin Toulmin, Stephen]<br />
<br />
== U ==<br />
<br />
== V ==<br />
<br />
== W ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Weaver Weaver, Richard]<br />
*[http://4341.quinnwarnick.com/wiki/Sean_D._Williams Williams, Sean D.]<br />
<br />
== X ==<br />
<br />
== Y ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Kathleen_Blake_Yancey Yancey, Kathleen Blake]<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/AuthorsAuthors2011-05-08T03:05:56Z<p>Chelsea: </p>
<hr />
<div>== A ==<br />
<br />
== B ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mikhail_Bakhtin Bakhtin, Mikhail]<br />
*[http://en.wikipedia.org/wiki/Dennis_Baron Baron, Dennis]<br />
*[http://4341.quinnwarnick.com/wiki/Roland_Barthes Barthes, Roland]<br />
*[http://4341.quinnwarnick.com/wiki/Brent_Douglas Brent, Douglas]<br />
*[http://4341.quinnwarnick.com/wiki/Donald_C._Bryant Bryant, Donald C.]<br />
*[http://4341.quinnwarnick.com/wiki/Kenneth_Burke Burke, Kenneth]<br />
<br />
== C ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Jim_W._Corder Corder, Jim W.]<br />
<br />
== D ==<br />
<br />
== E ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Lisa_S._Ede Ede, Lisa S.]<br />
<br />
== F ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michel_Foucault Foucault, Michel]<br />
<br />
== G ==<br />
<br />
== H ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michael_S._Halloran Halloran, Michael S.]<br />
*[http://4341.quinnwarnick.com/wiki/Bill_Hart-Davidson Hart-Davidson, Bill]<br />
<br />
== I ==<br />
<br />
== J ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Johndan_Johnson-Eilola Johnson-Eilola, Johndan]<br />
<br />
== K ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Steven_D._Krause Krause, Steven D.]<br />
<br />
== L ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/John_Logie Logie, John]<br />
*[http://4341.quinnwarnick.com/wiki/Andrea_A._Lunsford Lunsford, Andrea A.]<br />
<br />
== M ==<br />
<br />
== N ==<br />
<br />
== O ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Ohmann Ohmann, Richard]<br />
<br />
== P ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mike_Palmquist Palmquist, Mike]<br />
*[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Perelman, Chaim]<br />
<br />
== Q ==<br />
<br />
== R ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/I._A._Richards Richards, I. A.]<br />
<br />
== S ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Ferdinand_de_Saussure Saussure, Ferdinand de]<br />
*[http://4341.quinnwarnick.com/wiki/Robert_L._Scott Scott, Robert L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Cynthia L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Richard J. Jr.]<br />
*[http://4341.quinnwarnick.com/wiki/John_M._Slatin Slatin, John M.]<br />
*[http://4341.quinnwarnick.com/wiki/Madeleine_Sorapure Sorapure, Madeleine]<br />
<br />
== T ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Stephen_Toulmin Toulmin, Stephen]<br />
<br />
== U ==<br />
<br />
== V ==<br />
<br />
== W ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Weaver Weaver, Richard]<br />
*[http://4341.quinnwarnick.com/wiki/Sean_D._Williams Williams, Sean D.]<br />
<br />
== X ==<br />
<br />
== Y ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Kathleen_Blake_Yancey Yancey, Kathleen Blake]<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/Dennis_BaronDennis Baron2011-05-08T02:49:25Z<p>Chelsea: /* Additional Works/ Publications */</p>
<hr />
<div>Dennis Baron (1944-Present) is currently a professor of English and Linguistics at the University of Illinois at Urbana-Champaign. Baron is known for his work on the technologies of language communication as well as the history and current state of the English language. Baron blogs about communication technology and the use of language, and has written for the ''New York Times'', the Washington Post, the ''Los Angeles Times'', and the ''Chicago Tribune''.<br />
<br />
<br />
== Biography ==<br />
<br />
'''Education'''<br />
<br />
*Bachelors degree in English and American Literature from Brandeis University in 1965<br />
*Masters degree in English and Comparative Literature from Columbia University in 1968<br />
*Ph.D in English Language and Literature from the University of Michigan in 1971<br />
<br />
Currently, Baron has a blog titled "The Web of Language," which highlights language in the news. "The Web of Language" brings attention to such stories such as how the House passed a bill to ban texting in Spanish and how the world's most popular word, OK, turns 172 years old. The blog averages 25,000 pages views per month.<br />
<br />
== Article Summaries ==<br />
<br />
[[Baron, Dennis "From Pencils to Pixels: The Stages of Literacy Technology"]]<br />
<br />
== Additional Works/ Publications ==<br />
<br />
'''Books'''<br />
<br />
''A Better Pencil: Readers, Writers, and the Digital Revolution''. New York and Oxford: Oxford University Press, 2009. Print. <br />
<br />
''Guide to Home Language Repair''. Urbana: National Council of Teachers of English, 1994. Print.<br />
<br />
''Declining Grammar and other essays on the English vocabulary''. Urbana: National Council of Teachers of English, 1994. Print<br />
<br />
''The English-Only Question: An Official Language for Americans?''. New Haven: Yale University Press, 1990. Print. <br />
<br />
''Grammar and Gender''. New Haven: Yale University Press, 1896. Print. <br />
<br />
''Grammar and Good Taste: Reforming the American Language''. New Haven: Yale University Press, 1982. Print. <br />
<br />
''Going Native: The Regeneration of Saxon English''. Tuscaloosa: University of Alabama Press, 1982. Print.<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T02:24:10Z<p>Chelsea: </p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
''Author and Hero in Aesthetic Activity (Avtor i geroi v esteticheskoi deiatel´nosti)'' 1924-7<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
''Freudianism a Critical Sketch (Freidizm: Kriticheskii ocherk)''<br />
<br />
''Marxism and the Philosophy of Language (Marksizm i filosofia iazyka)'' 1929 <br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
'''Articles/Essays'''<br />
<br />
"Art and Answerability" (“Iskusstvo i otvetstvennost´”) 1919<br />
<br />
"The Problem of Content, Material and Form in Verbal Artistic Creation" (“Problema soderzheniia i formy v slovesnom khudozhestvennom tvorchestve”) 1924<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T02:23:47Z<p>Chelsea: </p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
''Author and Hero in Aesthetic Activity (Avtor i geroi v esteticheskoi deiatel´nosti)'' 1924-7<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
''Freudianism a Critical Sketch (Freidizm: Kriticheskii ocherk)''<br />
<br />
''Marxism and the Philosophy of Language (Marksizm i filosofia iazyka)'' 1929 <br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
'''Articles/Essays'''<br />
<br />
"Art and Answerability" (“Iskusstvo i otvetstvennost´”) 1919<br />
<br />
"The Problem of Content, Material and Form in Verbal Artistic Creation" (“Problema soderzheniia i formy v slovesnom khudozhestvennom tvorchestve”) 1924<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T02:18:22Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
''Author and Hero in Aesthetic Activity (Avtor i geroi v esteticheskoi deiatel´nosti)'' 1924-7<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
''Freudianism a Critical Sketch (Freidizm: Kriticheskii ocherk)''<br />
<br />
''Marxism and the Philosophy of Language (Marksizm i filosofia iazyka)'' 1929 <br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
'''Articles/Essays'''<br />
<br />
"Art and Answerability" (“Iskusstvo i otvetstvennost´”) 1919<br />
<br />
"The Problem of Content, Material and Form in Verbal Artistic Creation" (“Problema soderzheniia i formy v slovesnom khudozhestvennom tvorchestve”) 1924<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T02:14:27Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
''Freudianism a Critical Sketch (Freidizm: Kriticheskii ocherk)''<br />
<br />
''Author and Hero in Aesthetic Activity (Avtor i geroi v esteticheskoi deiatel´nosti)'' 1924-7<br />
''The Formal Method in Literary Scholarship(Formal´lnyi metod v literaturovedenii) 1928''<br />
''Marxism and the Philosophy of Language (Marksizm i filosofia iazyka) 1929'' <br />
<br />
'''Articles/Essays'''<br />
<br />
The Problem of Content, Material and Form in Verbal Artistic Creation(“Problema soderzheniia i formy v slovesnom khudozhestvennom tvorchestve”) 1924 <br />
<br />
"Art and Answerability" (“Iskusstvo i otvetstvennost´”) 1919<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:20:59Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
''Freudianism a Critical Sketch (Freidizm: Kriticheskii ocherk)''<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:20:48Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
''Freudianism a Critical Sketch(Freidizm: Kriticheskii ocherk)''<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:16:50Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
''The work of François Rabelais and the Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)''<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:15:50Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art (Problemy poetiki Dostoevskogo)'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
The work of François Rabelais and the Popular Culture of the Middle Ages and the Renaissance (Tvorchestvo Fransua Rable i narodnaia kul´tura srednevekov´ia i renessansa)<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:12:51Z<p>Chelsea: /* References */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
*Brandist, Craig. "Bakhtin Circle, The [Internet Encyclopedia of Philosophy]." Internet Encyclopedia of Philosophy. University of Sheffield, 15 July 2005. Web. 07 May 2011. For website, click [http://www.iep.utm.edu/bakhtin/ here].<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:08:51Z<p>Chelsea: /* References */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20. For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:08:33Z<p>Chelsea: /* References */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20.<br />
For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:07:01Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20.<br />
For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:06:33Z<p>Chelsea: /* Further Readings */</p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20.<br />
For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/Mikhail_BakhtinMikhail Bakhtin2011-05-08T01:06:03Z<p>Chelsea: </p>
<hr />
<div>Mikhail Bakhtin (1895-1975) was a Russian literary theorist and philosopher of language. He was born into a noble family in Russia, and his father and grandfather owned and managed state banks. Few of his works were published during his lifetime. Most of his writing focused on Marxism, semiotics, structuralism, and religious criticism.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
<br />
[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
<br />
<br />
== Further Readings ==<br />
<br />
[http://books.google.com/books?id=4XzDwzXsgo8C&printsec=frontcover&dq=toward+a+Philosophy+of+the+Act&source=bl&ots=AMn-pjUuNf&sig=u65LHEkgiQeZ7fl4yVysbHN0UjM&hl=en&ei=fRq_TZreFcOUtwelptzSBQ&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEIQ6AEwBA#v=onepage&q&f=false ''Toward a Philosophy of the Act'']<br />
<br />
[http://books.google.com/books?id=MkXAzSbkU8QC&pg=PA275&lpg=PA275&dq=Problems+of+Dostoevsky%E2%80%99s+Art&source=bl&ots=xIITiiVtck&sig=26a2QfRsnaZavB9DPj-9N5-qze0&hl=en&ei=Bhq_TeqxNoectwf2qY3CBQ&sa=X&oi=book_result&ct=result&resnum=3&ved=0CDEQ6AEwAg#v=onepage&q=Problems%20of%20Dostoevsky%E2%80%99s%20Art&f=false ''Problems of Dostoyevsky's Art'']<br />
<br />
[http://en.wikipedia.org/wiki/Rabelais_and_His_World ''Rabelais and His World'']<br />
<br />
[http://books.google.com/books?id=JKZztxqdIpgC&printsec=frontcover&dq=The+Dialogic+Imagination&hl=en&ei=_hq_TYC3D8yXtwf-kfXVBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Dialogic Imagination'']<br />
<br />
<br />
== References ==<br />
* Zappen, James P. "Mikhail Bakhtin (1895-1975)" ''Twentieth-Century Rhetoric and Rhetoricians: Critical Studies and Sources''. Ed. Michael G. Moran and Michelle Ballif. Westport: Greenwood Press, 2000. 7-20.<br />
For the electronic version, click [http://www.rpi.edu/~zappenj/Bibliographies/bakhtin.htm here].<br />
<br />
<br />
== External Links ==</div>Chelseahttps://rhetorclick.com/wiki/AuthorsAuthors2011-05-08T00:18:28Z<p>Chelsea: </p>
<hr />
<div><br />
== A ==<br />
<br />
== B ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mikhail_Bakhtin Bakhtin, Mikhail]<br />
*[http://4341.quinnwarnick.com/wiki/Dennis_Baron Baron, Dennis]<br />
*[http://4341.quinnwarnick.com/wiki/Roland_Barthes Barthes, Roland]<br />
*[http://4341.quinnwarnick.com/wiki/Brent_Douglas Brent, Douglas]<br />
*[http://4341.quinnwarnick.com/wiki/Donald_C._Bryant Bryant, Donald C.]<br />
*[http://4341.quinnwarnick.com/wiki/Kenneth_Burke Burke, Kenneth]<br />
<br />
== C ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Jim_W._Corder Corder, Jim W.]<br />
<br />
== D ==<br />
<br />
== E ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Lisa_S._Ede Ede, Lisa S.]<br />
<br />
== F ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michel_Foucault Foucault, Michel]<br />
<br />
== G ==<br />
<br />
== H ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Michael_S._Halloran Halloran, Michael S.]<br />
*[http://4341.quinnwarnick.com/wiki/Bill_Hart-Davidson Hart-Davidson, Bill]<br />
<br />
== I ==<br />
<br />
== J ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Johndan_Johnson-Eilola Johnson-Eilola, Johndan]<br />
<br />
== K ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Steven_D._Krause Krause, Steven D.]<br />
<br />
== L ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/John_Logie Logie, John]<br />
*[http://4341.quinnwarnick.com/wiki/Andrea_A._Lunsford Lunsford, Andrea A.]<br />
<br />
== M ==<br />
<br />
== N ==<br />
<br />
== O ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Ohmann Ohmann, Richard]<br />
<br />
== P ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Mike_Palmquist Palmquist, Mike]<br />
*[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Perelman, Chaim]<br />
<br />
== Q ==<br />
<br />
== R ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/I._A._Richards Richards, I. A.]<br />
<br />
== S ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Ferdinand_de_Saussure Saussure, Ferdinand de]<br />
*[http://4341.quinnwarnick.com/wiki/Robert_L._Scott Scott, Robert L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Cynthia L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Richard J. Jr.]<br />
*[http://4341.quinnwarnick.com/wiki/John_M._Slatin Slatin, John M.]<br />
*[http://4341.quinnwarnick.com/wiki/Madeleine_Sorapure Sorapure, Madeleine]<br />
<br />
== T ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Stephen_Toulmin Toulmin, Stephen]<br />
<br />
== U ==<br />
<br />
== V ==<br />
<br />
== W ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Weaver Weaver, Richard]<br />
*[http://4341.quinnwarnick.com/wiki/Sean_D._Williams Williams, Sean D.]<br />
<br />
== X ==<br />
<br />
== Y ==<br />
<br />
*[http://4341.quinnwarnick.com/wiki/Kathleen_Blake_Yancey Yancey, Kathleen Blake]<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/Brent,_Douglas_%22Rogerian_Rhetoric:_An_Alternative_to_Traditional_Rhetoric%22Brent, Douglas "Rogerian Rhetoric: An Alternative to Traditional Rhetoric"2011-05-08T00:13:45Z<p>Chelsea: </p>
<hr />
<div>[[Douglas Brent]] This article is in need of a summary.</div>Chelseahttps://rhetorclick.com/wiki/Geographical_Map_of_AuthorsGeographical Map of Authors2011-05-08T00:02:07Z<p>Chelsea: </p>
<hr />
<div>This page groups authors by their country of origin. <br />
<br />
==Canada==<br />
*[[Douglas Brent]]<br />
<br />
==England==<br />
*[[I. A. Richards]]<br />
*[[Stephen Toulmin]]<br />
<br />
==France==<br />
*[[Roland Barthes]]<br />
*[[Michel Foucault]]<br />
<br />
==Poland==<br />
*[[Chaim Perelman]]<br />
<br />
==Russia==<br />
*[[Mikhail Bakhtin]]<br />
<br />
==Switzerland==<br />
*[[Ferdinand de Saussure]]<br />
<br />
==United States==<br />
*[[Dennis Baron]]<br />
*[[Donald C. Bryant]]<br />
*[[Kenneth Burke]]<br />
*[[Jim W. Corder]]<br />
*[[Lisa S. Ede]]<br />
*[[S. Michael Halloran]]<br />
*[[Bill Hart-Davidson]]<br />
*[[Johndan Johnson-Eilola]]<br />
*[[Steven D. Krause]]<br />
*[[John Logie]]<br />
*[[Andrea A. Lunsford]]<br />
*[[Mike Palmquist]]<br />
*[[Richard Ohmann]]<br />
*[[Robert L. Scott]]<br />
*[[Cynthia L. Selfe]]<br />
*[[Richard J. Selfe Jr.]]<br />
*[[John M. Slatin]]<br />
*[[Madeleine Sorapure]]<br />
*[[Richard Weaver]]<br />
*[[Sean D. Williams]]<br />
*[[Kathleen Blake Yancey]]</div>Chelseahttps://rhetorclick.com/wiki/AuthorsAuthors2011-05-08T00:00:02Z<p>Chelsea: </p>
<hr />
<div>*[http://4341.quinnwarnick.com/wiki/Mikhail_Bakhtin Bakhtin, Mikhail]<br />
*[http://4341.quinnwarnick.com/wiki/Dennis_Baron Baron, Dennis]<br />
*[http://4341.quinnwarnick.com/wiki/Roland_Barthes Barthes, Roland]<br />
*[http://4341.quinnwarnick.com/wiki/Brent_Douglas Brent, Douglas]<br />
*[http://4341.quinnwarnick.com/wiki/Donald_C._Bryant Bryant, Donald C.]<br />
*[http://4341.quinnwarnick.com/wiki/Kenneth_Burke Burke, Kenneth]<br />
*[http://4341.quinnwarnick.com/wiki/Jim_W._Corder Corder, Jim W.]<br />
*[http://4341.quinnwarnick.com/wiki/Lisa_S._Ede Ede, Lisa S.]<br />
*[http://4341.quinnwarnick.com/wiki/Michel_Foucault Foucault, Michel]<br />
*[http://4341.quinnwarnick.com/wiki/Michael_S._Halloran Halloran, Michael S.]<br />
*[http://4341.quinnwarnick.com/wiki/Bill_Hart-Davidson Hart-Davidson, Bill]<br />
*[http://4341.quinnwarnick.com/wiki/Johndan_Johnson-Eilola Johnson-Eilola, Johndan]<br />
*[http://4341.quinnwarnick.com/wiki/Steven_D._Krause Krause, Steven D.]<br />
*[http://4341.quinnwarnick.com/wiki/John_Logie Logie, John]<br />
*[http://4341.quinnwarnick.com/wiki/Andrea_A._Lunsford Lunsford, Andrea A.]<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Ohmann Ohmann, Richard]<br />
*[http://4341.quinnwarnick.com/wiki/Mike_Palmquist Palmquist, Mike]<br />
*[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Perelman, Chaim]<br />
*[http://4341.quinnwarnick.com/wiki/I._A._Richards Richards, I. A.]<br />
*[http://4341.quinnwarnick.com/wiki/Ferdinand_de_Saussure Saussure, Ferdinand de]<br />
*[http://4341.quinnwarnick.com/wiki/Robert_L._Scott Scott, Robert L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Cynthia L.]<br />
*[http://4341.quinnwarnick.com/wiki/Cynthia_L._Selfe Selfe, Richard J. Jr.]<br />
*[http://4341.quinnwarnick.com/wiki/John_M._Slatin Slatin, John M.]<br />
*[http://4341.quinnwarnick.com/wiki/Madeleine_Sorapure Sorapure, Madeleine]<br />
*[http://4341.quinnwarnick.com/wiki/Stephen_Toulmin Toulmin, Stephen]<br />
*[http://4341.quinnwarnick.com/wiki/Richard_Weaver Weaver, Richard]<br />
*[http://4341.quinnwarnick.com/wiki/Sean_D._Williams Williams, Sean D.]<br />
*[http://4341.quinnwarnick.com/wiki/Kathleen_Blake_Yancey Yancey, Kathleen Blake]</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:57:39Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?"] by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:57:19Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22 "What Is an Author?" by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:56:59Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [http://4341.quinnwarnick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22]"What Is an Author?" by [[Michel Foucault]])<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:56:25Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [["What Is an Author?"]] by Michel Foucault)<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:55:53Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [[What Is an Author?]] by Michel Foucault)<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:55:38Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''': NEEDS DEFINITION (see [[What Is an Author]] by Michel Foucault)<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:52:46Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''Ecriture''':<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22Foucault, Michel "What Is an Author?"2011-05-07T23:52:30Z<p>Chelsea: </p>
<hr />
<div>In “What is an Author,” [http://4341.quinnwarnick.com/wiki/Michel_Foucault Michel Foulcault] works to correct a pivotal aspect he had excluded, and received criticism for, in his previous writings--the role or non-existent role of the author. He limits his discussion to “the singular relationship that holds between an author and a text” while mentioning the themes of writing’s exterior position and the relationship of writing and death. Foucault also brings up the question of, what constitutes the work of an author and what is everything he/she wrote? This has kept us from fully understanding the disappearance of the author. As has the notion of [http://4341.quinnwarnick.com/wiki/Glossary#E ecriture] in which the idea of the signal, human author becomes a “transcendental anonymity” (182). Foucault then discusses the name of an author and its function. He concludes that the name of an author is not a proper name that does not modify despite changes in the characteristic of the named individual, but rather a name that is linked to the discourse of the author. Thus, the author’s name is functional, and its function is to “characterize the existence, circulation, and operation of certain discourses within a society” (184). Having an author as a function and speaking purely of texts with authors, the “author-function” has four features: <br />
<br />
*“Objects of appropriation” <br />
*“Not universal or constant in all discourse” <br />
*“Not formed spontaneously through the simple attribution of a discourse to an individual” <br />
*“Arises our of their scission--in the division and distance of the two” (184-188) <br />
<br />
The latter is the division and distance of the three egos that an author depicts in his/her writings. He then makes the depiction between scientific writings and those of “initiators of discursive practices” (189). The difference being that these initiators of discursive practices “produced not only their own work, but the possibility and the rules of formation of other texts,” and that they can be returned to as opposed to rediscovered or reactivated.</div>Chelseahttps://rhetorclick.com/wiki/GlossaryGlossary2011-05-07T23:51:31Z<p>Chelsea: /* E */</p>
<hr />
<div>This page is dedicated to key terms from the readings.<br />
<br />
<br />
== A ==<br />
<br />
*'''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]])<br />
*'''Aleatoric''': according to chance (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''Animism''': according to Aristotle, all objects have souls (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antistrophos''': counterpart, companion (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Antithetical''': being in direct and unequivocal opposition (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== B ==<br />
<br />
*'''Bricolage''': (in art or literature) construction or creation from a diverse range of available things (see [[April 5 Class Notes]])<br />
<br />
== C ==<br />
<br />
*'''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]])<br />
*'''Classical Rhetori'''c: theory of persuasive discourse (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== D ==<br />
<br />
*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])<br />
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Doxa''': social knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== E ==<br />
*'''ecriture''':<br />
*'''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]])<br />
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])<br />
*'''Episteme''': core, truths of the earth knowledge (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''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]])<br />
*'''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]]<br />
*'''Etymologically''' (Burke [[January 27 Class Notes]])<br />
<br />
== F ==<br />
<br />
<br />
== G ==<br />
<br />
<br />
== H ==<br />
*'''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]])<br />
<br />
== I ==<br />
*'''Imbued''': to permeate or influence as if by dyeing (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])<br />
*'''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]).<br />
*'''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]).<br />
*'''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]])<br />
*'''Isomorphous''': being of identical or similar form, shape, or structure (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
<br />
== J ==<br />
<br />
<br />
== K ==<br />
<br />
*'''Krisis''': point of judgment, moment of decision (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
<br />
== L ==<br />
<br />
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])<br />
*'''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]]<br />
<br />
== M ==<br />
<br />
<br />
== N ==<br />
*'''Natura naturans''': nature doing what nature does (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Natura naurata''': nature already created (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''New Criticism''': Richards' ideas helped establish this movement, which viewed texts as completely autonomous (Richards [[February 1 Class Notes]])<br />
*'''New Rhetoric''': theory of argumentation (Perelman [[February 10 Class Notes]])<br />
*'''Node''': Any object which is linked to another object (Slatin [[March 22 Class Notes]])<br />
<br />
== O ==<br />
<br />
*'''Object''': the action you take (Peirce [[January 25 Class Notes]])<br />
*'''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]])<br />
*'''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]])<br />
<br />
== P ==<br />
<br />
*'''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]])<br />
*'''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]]<br />
*'''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]])<br />
*'''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]])<br />
*'''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]])<br />
*'''Poeis''': fine arts (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Priori''': relating to or derived by reasoning from self-evident propositions (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])<br />
<br />
== Q ==<br />
<br />
<br />
== R ==<br />
<br />
*'''Rationalism''': truth is not sensory, but intellectual and deductive. You only know thought through deductive reasoning. (Perelman [[February 10 Class Notes]])<br />
*'''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]])<br />
* Rhetoric: (see [[Definitions of Rhetoric]])<br />
<br />
== S ==<br />
*'''Semantic''': of or relating to meaning in language (see [["Toward a Methodology for the Human Sciences" by Mikhail Bakhtin]])<br />
*'''Semiology''': the study of signs (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''Signifier''': the material (or physical form) of the sign (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
*'''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]])<br />
*'''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])<br />
*'''Synchronic''': concerned with events existing in a limited time period and ignoring historical antecedents (see [["Nature of the Linguistic Sign" by Ferdinand de Saussure]])<br />
<br />
== T ==<br />
<br />
*'''Techne''': art, craft (see [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]])<br />
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])<br />
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])<br />
<br />
== U ==<br />
<br />
<br />
== V ==<br />
<br />
<br />
== W ==<br />
<br />
<br />
== X ==<br />
<br />
<br />
== Y ==<br />
<br />
<br />
== Z ==</div>Chelseahttps://rhetorclick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22Foucault, Michel "What Is an Author?"2011-05-07T23:51:01Z<p>Chelsea: </p>
<hr />
<div>In “What is an Author,” [http://4341.quinnwarnick.com/wiki/Michel_Foucault Michel Foulcault] works to correct a pivotal aspect he had excluded, and received criticism for, in his previous writings--the role or non-existent role of the author. He limits his discussion to “the singular relationship that holds between an author and a text” while mentioning the themes of writing’s exterior position and the relationship of writing and death. Foucault also brings up the question of, what constitutes the work of an author and what is everything he/she wrote? This has kept us from fully understanding the disappearance of the author. As has the notion of [[ecriture]] in which the idea of the signal, human author becomes a “transcendental anonymity” (182). Foucault then discusses the name of an author and its function. He concludes that the name of an author is not a proper name that does not modify despite changes in the characteristic of the named individual, but rather a name that is linked to the discourse of the author. Thus, the author’s name is functional, and its function is to “characterize the existence, circulation, and operation of certain discourses within a society” (184). Having an author as a function and speaking purely of texts with authors, the “author-function” has four features: <br />
<br />
*“Objects of appropriation” <br />
*“Not universal or constant in all discourse” <br />
*“Not formed spontaneously through the simple attribution of a discourse to an individual” <br />
*“Arises our of their scission--in the division and distance of the two” (184-188) <br />
<br />
The latter is the division and distance of the three egos that an author depicts in his/her writings. He then makes the depiction between scientific writings and those of “initiators of discursive practices” (189). The difference being that these initiators of discursive practices “produced not only their own work, but the possibility and the rules of formation of other texts,” and that they can be returned to as opposed to rediscovered or reactivated.</div>Chelseahttps://rhetorclick.com/wiki/Theories_and_MovementsTheories and Movements2011-05-07T23:49:19Z<p>Chelsea: </p>
<hr />
<div>Ideas of various scholars-<br />
<br />
Ferdinand de Saussure, 1857-1913: signified and signifier are core of semiotics<br />
<br />
[[I. A. Richards]], 1893-1979: father of [[New Criticism]]<br />
<br />
[[Mikhail Bakhtin]], 1895-1975: polyphony, unfinalizability, carnival and grotesque, chronotope, heteroglossia ("The Dialogic Imagination"), speech genres<br />
<br />
[[Kenneth Burke]], 1897-1993: [[Dramatistic Pentad]] (act, scene, agent, agency, purpose), definition of man as symbol-using animal<br />
<br />
[[Donald C. Bryant]], 1905-1987: [[definitions of rhetoric]]<br />
<br />
[[Richard Weaver]], 1910-1963: man's nature is fourfold (rational, emotional, ethical, religious), "god terms" and "devil terms," [[Noble Rhetoric]]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Chaim Perelman], 1912-1984: [[New Rhetorics]]<br />
<br />
[[Roland Barthes]], 1915-1980: author and scriptor, neutral and novelistic writing<br />
<br />
[[Stephen Toulmin]], 1922-2009: Toulmin Model of Argument (claim, data, warrant, backing, rebuttal, qualifier)<br />
<br />
[[Michel Foucault]], 1926-1984: author-function<br />
<br />
[[Robert L. Scott]], b. 1928: "epistemic rhetoric"<br />
<br />
[[Jim W. Corder]], 1929-1998: argument as emergence toward the other<br />
<br />
[[Richard Ohmann]], b. 1931:<br />
<br />
[[S. Michael Halloran]], b. 1939:<br />
<br />
[[Lisa S. Ede]], b. 1947, and [[Andrea A. Lunsford]], b. 1942:<br />
<br />
[[Dennis Baron]], b. 1944:<br />
<br />
[[Douglas Brent]]:<br />
<br />
[[Cynthia L. Selfe]] and [[Richard J. Selfe Jr.]]:<br />
<br />
[[John M. Slatin]]:<br />
<br />
[[Kathleen Blake Yancey]]:</div>Chelseahttps://rhetorclick.com/wiki/Theories_and_MovementsTheories and Movements2011-05-07T23:48:57Z<p>Chelsea: </p>
<hr />
<div>Ideas of various scholars-<br />
<br />
Ferdinand de Saussure, 1857-1913: signified and signifier are core of semiotics<br />
<br />
[[I. A. Richards]], 1893-1979: father of [[New Criticism]]<br />
<br />
[[Mikhail Bakhtin]], 1895-1975: polyphony, unfinalizability, carnival and grotesque, chronotope, heteroglossia ("The Dialogic Imagination"), speech genres<br />
<br />
[[Kenneth Burke]], 1897-1993: [[Dramatistic Pentad]] (act, scene, agent, agency, purpose), definition of man as symbol-using animal<br />
<br />
[[Donald C. Bryant]], 1905-1987: [[definitions of rhetoric]]<br />
<br />
[[Richard Weaver]], 1910-1963: man's nature is fourfold (rational, emotional, ethical, religious), "god terms" and "devil terms," [[Noble Rhetoric]]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Chaim Perelman], 1912-1984: [[New Rhetorics]]<br />
<br />
[[Roland Barthes]], 1915-1980: author and scriptor, neutral and novelistic writing<br />
<br />
[[Stephen Toulmin]], 1922-2009: Toulmin Model of Argument (claim, data, warrant, backing, rebuttal, qualifier)<br />
<br />
[[Michel Foucault]], 1926-1984: author-function<br />
<br />
[[Robert L. Scott]], b. 1928: "epistemic rhetoric"<br />
<br />
[[Jim W. Corder]], 1929-1998: argument as emergence toward the other<br />
<br />
[[Richard Ohmann]], b. 1931:<br />
<br />
[[S. Michael Halloran]], b. 1939:<br />
<br />
[[Lisa S. Ede]], b. 1947, and [[Andrea A. Lunsford]], b. 1942:<br />
<br />
[[Dennis Baron]], b. 1944:<br />
<br />
[[Douglas Brent]]:<br />
<br />
[[Cynthia L. Selfe]] and [[Richard J. Selfe Jr.]]:<br />
<br />
[[John M. Slatin]]:<br />
<br />
[[Kathleen Yancey]]:</div>Chelseahttps://rhetorclick.com/wiki/Theories_and_MovementsTheories and Movements2011-05-07T23:48:15Z<p>Chelsea: </p>
<hr />
<div>Ideas of various scholars-<br />
<br />
Ferdinand de Saussure, 1857-1913: signified and signifier are core of semiotics<br />
<br />
[[I. A. Richards]], 1893-1979: father of [[New Criticism]]<br />
<br />
[[Mikhail Bakhtin]], 1895-1975: polyphony, unfinalizability, carnival and grotesque, chronotope, heteroglossia ("The Dialogic Imagination"), speech genres<br />
<br />
[[Kenneth Burke]], 1897-1993: [[Dramatistic Pentad]] (act, scene, agent, agency, purpose), definition of man as symbol-using animal<br />
<br />
[[Donald C. Bryant]], 1905-1987: [[definitions of rhetoric]]<br />
<br />
[[Richard Weaver]], 1910-1963: man's nature is fourfold (rational, emotional, ethical, religious), "god terms" and "devil terms," [[Noble Rhetoric]]<br />
<br />
[http://4341.quinnwarnick.com/wiki/Chaim_Perelman Chaim Perelman], 1912-1984: [[New Rhetorics]]<br />
<br />
[[Roland Barthes]], 1915-1980: author and scriptor, neutral and novelistic writing<br />
<br />
[[Stephen Toulmin]], 1922-2009: Toulmin Model of Argument (claim, data, warrant, backing, rebuttal, qualifier)<br />
<br />
[[Michel Foucault]], 1926-1984: author-function<br />
<br />
[[Robert L. Scott]], b. 1928: "epistemic rhetoric"<br />
<br />
[[Jim W. Corder]], 1929-1998: argument as emergence toward the other<br />
<br />
[[Richard Ohmann]], b. 1931:<br />
<br />
[[S. Michael Halloran]], b. 1939:<br />
<br />
[[Lisa S. Ede]], b. 1947, and [[Andrea A. Lunsford]], b. 1942:<br />
<br />
[[Dennis Baron]], b. 1944:<br />
<br />
[[Douglas Brent]]:<br />
<br />
[[Cynthia Selfe]] and [[Richard Selfe]]:<br />
<br />
[[John M. Slatin]]:<br />
<br />
[[Kathleen Yancey]]:</div>Chelseahttps://rhetorclick.com/wiki/Theories_and_MovementsTheories and Movements2011-05-07T23:47:10Z<p>Chelsea: </p>
<hr />
<div>Ideas of various scholars-<br />
<br />
Ferdinand de Saussure, 1857-1913: signified and signifier are core of semiotics<br />
<br />
[[I. A. Richards]], 1893-1979: father of [[New Criticism]]<br />
<br />
[[Mikhail Bakhtin]], 1895-1975: polyphony, unfinalizability, carnival and grotesque, chronotope, heteroglossia ("The Dialogic Imagination"), speech genres<br />
<br />
[[Kenneth Burke]], 1897-1993: [[Dramatistic Pentad]] (act, scene, agent, agency, purpose), definition of man as symbol-using animal<br />
<br />
[[Donald C. Bryant]], 1905-1987: [[definitions of rhetoric]]<br />
<br />
[[Richard Weaver]], 1910-1963: man's nature is fourfold (rational, emotional, ethical, religious), "god terms" and "devil terms," [[Noble Rhetoric]]<br />
<br />
[[Chaïm Perelman]], 1912-1984: [[New Rhetorics]]<br />
<br />
[[Roland Barthes]], 1915-1980: author and scriptor, neutral and novelistic writing<br />
<br />
[[Stephen Toulmin]], 1922-2009: Toulmin Model of Argument (claim, data, warrant, backing, rebuttal, qualifier)<br />
<br />
[[Michel Foucault]], 1926-1984: author-function<br />
<br />
[[Robert L. Scott]], b. 1928: "epistemic rhetoric"<br />
<br />
[[Jim W. Corder]], 1929-1998: argument as emergence toward the other<br />
<br />
[[Richard Ohmann]], b. 1931:<br />
<br />
[[S. Michael Halloran]], b. 1939:<br />
<br />
[[Lisa S. Ede]], b. 1947, and [[Andrea A. Lunsford]], b. 1942:<br />
<br />
[[Dennis Baron]], b. 1944:<br />
<br />
[[Douglas Brent]]:<br />
<br />
[[Cynthia Selfe]] and [[Richard Selfe]]:<br />
<br />
[[John M. Slatin]]:<br />
<br />
[[Kathleen Yancey]]:</div>Chelseahttps://rhetorclick.com/wiki/Selfe,_Cynthia_L._%26_Richard_J._Selfe_Jr._%22The_Politics_of_the_Interface:_Power_and_Its_Exercise_in_Electronic_Contact_Zones%22Selfe, Cynthia L. & Richard J. Selfe Jr. "The Politics of the Interface: Power and Its Exercise in Electronic Contact Zones"2011-05-07T23:09:10Z<p>Chelsea: </p>
<hr />
<div>[[Cynthia L. Selfe]] & [[Richard J. Selfe Jr.]] in “The Politics of the Interface: Power and Its Exercise in Electronic Contact Zones argue that 1994 interfaces marginalizes the marginalized and further promotes repression as well as colonialism. Their goal in making this connection is to show teachers how to identify computerized domination and colonialism so that they can counteract his trend between technology and education. The article turns to a brief summary of the history of English composition classes to explain that computers were suppose to be a more “democratic” and “less systematically oppressive” form of learning for students (67). However, Selfe and Selfe claim that computer interfaces and their uses in minority versus majority classrooms as well as their icons exude “racism, sexism, and colonialism” (67). Since minority students are the growing “technological underclass,” they will likely not receive the technological skills necessary in the non-academic world and the majority students will. Although not overtly, computer interfaces also, through their interfaces’ maps, promote “monoculturalism, capitalism, and philological thinking” and excludes other perspectives (69). Selfe and Selfe particularly take up the issue of mostly English interfaces in schools and then in the world, claiming that they exclude non-English speakers and their cultures. To remedy such issues, Selfe and Selfe propose that everyone, especially educators and scholars, locate themselves in relation to the map. Recognizing these borders helps to transcend them in self and classroom. They also propose that a critical awareness of these interfaces are necessary and that classrooms should assign a re-write to students and faculties of interface texts and structures.</div>Chelseahttps://rhetorclick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22Foucault, Michel "What Is an Author?"2011-05-07T23:04:58Z<p>Chelsea: </p>
<hr />
<div>In “What is an Author,” [http://4341.quinnwarnick.com/wiki/Michel_Foucault Michel Foulcault] works to correct a pivotal aspect he had excluded, and received criticism for, in his previous writings--the role or non-existent role of the author. He limits his discussion to “the singular relationship that holds between an author and a text” while mentioning the themes of writing’s exterior position and the relationship of writing and death. Foucault also brings up the question of, what constitutes the work of an author and what is everything he/she wrote? This has kept us from fully understanding the disappearance of the author. As has the notion of ecriture in which the idea of the signal, human author becomes a “transcendental anonymity” (182). Foucault then discusses the name of an author and its function. He concludes that the name of an author is not a proper name that does not modify despite changes in the characteristic of the named individual, but rather a name that is linked to the discourse of the author. Thus, the author’s name is functional, and its function is to “characterize the existence, circulation, and operation of certain discourses within a society” (184). Having an author as a function and speaking purely of texts with authors, the “author-function” has four features: <br />
<br />
*“Objects of appropriation” <br />
*“Not universal or constant in all discourse” <br />
*“Not formed spontaneously through the simple attribution of a discourse to an individual” <br />
*“Arises our of their scission--in the division and distance of the two” (184-188) <br />
<br />
The latter is the division and distance of the three egos that an author depicts in his/her writings. He then makes the depiction between scientific writings and those of “initiators of discursive practices” (189). The difference being that these initiators of discursive practices “produced not only their own work, but the possibility and the rules of formation of other texts,” and that they can be returned to as opposed to rediscovered or reactivated.</div>Chelseahttps://rhetorclick.com/wiki/Foucault,_Michel_%22What_Is_an_Author%3F%22Foucault, Michel "What Is an Author?"2011-05-07T23:03:43Z<p>Chelsea: </p>
<hr />
<div>In “What is an Author,” [[Michael Foucault]] works to correct a pivotal aspect he had excluded, and received criticism for, in his previous writings--the role or non-existent role of the author. He limits his discussion to “the singular relationship that holds between an author and a text” while mentioning the themes of writing’s exterior position and the relationship of writing and death. Foucault also brings up the question of, what constitutes the work of an author and what is everything he/she wrote? This has kept us from fully understanding the disappearance of the author. As has the notion of ecriture in which the idea of the signal, human author becomes a “transcendental anonymity” (182). Foucault then discusses the name of an author and its function. He concludes that the name of an author is not a proper name that does not modify despite changes in the characteristic of the named individual, but rather a name that is linked to the discourse of the author. Thus, the author’s name is functional, and its function is to “characterize the existence, circulation, and operation of certain discourses within a society” (184). Having an author as a function and speaking purely of texts with authors, the “author-function” has four features: <br />
<br />
*“Objects of appropriation” <br />
*“Not universal or constant in all discourse” <br />
*“Not formed spontaneously through the simple attribution of a discourse to an individual” <br />
*“Arises our of their scission--in the division and distance of the two” (184-188) <br />
<br />
The latter is the division and distance of the three egos that an author depicts in his/her writings. He then makes the depiction between scientific writings and those of “initiators of discursive practices” (189). The difference being that these initiators of discursive practices “produced not only their own work, but the possibility and the rules of formation of other texts,” and that they can be returned to as opposed to rediscovered or reactivated.</div>Chelseahttps://rhetorclick.com/wiki/Michel_FoucaultMichel Foucault2011-05-07T22:38:50Z<p>Chelsea: /* External Links */</p>
<hr />
<div>Michel Foucault Michel Foucault (1926-1984) attended Ecole Normale Superieure. After seeing a psychiatrist, he began studying psychology, and he earned his license in France, as well as a degree in philosophy. He taught psychology at the Universite Lille Nord de France from 1953 to 1954. After leaving France for a few years, Foucault returned to finish his doctorate and accept a position at the University of Clermont-Ferrand. In 1965, he moved to the University of Tunis. He later moved to the United States and lectured at the University at buffalo in 1970, as well as at UC Berkeley.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[["What Is an Author?" by Michel Foucault]]<br />
<br />
== Additional Works/Publications ==<br />
<br />
[http://books.google.com/books?id=Gs5PRR9-8BcC&printsec=frontcover&dq=Madness+and+Civilization&hl=en&src=bmrr&ei=MSe_TdrCA4Ls0gGjxrXaBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''Madness and Civilization'']<br />
<br />
[http://books.google.com/books?id=c53DEY3-qtcC&printsec=frontcover&dq=The+Birth+of+the+Clinic&hl=en&src=bmrr&ei=dye_TdqsHojl0QH5_9itCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CEUQ6AEwAA#v=onepage&q&f=false ''The Birth of the Clinic'']<br />
<br />
[http://books.google.com/books?id=gBJyqO5qrf8C&printsec=frontcover&dq=Death+and+The+Labyrinth&hl=en&src=bmrr&ei=mCe_TYq-L4PB0QHkmpnZBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDsQ6AEwAA#v=onepage&q&f=false ''Death and the Labyrinth'']<br />
<br />
[http://books.google.com/books?id=xVeRwX-AvLAC&printsec=frontcover&dq=The+Order+of+Things&hl=en&src=bmrr&ei=wSe_TfirI8b00gHH0Y3jBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Order of Things'']<br />
<br />
[http://books.google.com/books?id=Ma77jxOOmBcC&printsec=frontcover&dq=The+Archaeology+of+Knowledge&hl=en&ei=7ie_TdiUCcbx0gGFuemrBA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''Archaeology of Knowledge'']<br />
<br />
[http://books.google.com/books?id=o9cPAQAAMAAJ&q=Discipline+and+Punish&dq=Discipline+and+Punish&hl=en&ei=FSi_Ta3TDKXh0QHImb3nBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDEQ6AEwAA ''Discipline and Punish'']<br />
<br />
[http://books.google.com/books?id=oQBAPgAACAAJ&dq=The+History+of+Sexuality&hl=en&ei=OSi_TaPsK-yD0QG9mtTgBQ&sa=X&oi=book_result&ct=result&resnum=4&ved=0CDUQ6AEwAw ''The History of Sexuality'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
[http://en.wikipedia.org/wiki/Bibliography_of_Michel_Foucault Full Bibliography of Michel Foucault]<br />
<br />
[http://www.youtube.com/watch?v=87luYn3fQvY BBC Review of the Michael Foucault vs. Noam Chomsky Debate of 1971]</div>Chelseahttps://rhetorclick.com/wiki/Michel_FoucaultMichel Foucault2011-05-07T22:38:24Z<p>Chelsea: /* External Links */</p>
<hr />
<div>Michel Foucault Michel Foucault (1926-1984) attended Ecole Normale Superieure. After seeing a psychiatrist, he began studying psychology, and he earned his license in France, as well as a degree in philosophy. He taught psychology at the Universite Lille Nord de France from 1953 to 1954. After leaving France for a few years, Foucault returned to finish his doctorate and accept a position at the University of Clermont-Ferrand. In 1965, he moved to the University of Tunis. He later moved to the United States and lectured at the University at buffalo in 1970, as well as at UC Berkeley.<br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[["What Is an Author?" by Michel Foucault]]<br />
<br />
== Additional Works/Publications ==<br />
<br />
[http://books.google.com/books?id=Gs5PRR9-8BcC&printsec=frontcover&dq=Madness+and+Civilization&hl=en&src=bmrr&ei=MSe_TdrCA4Ls0gGjxrXaBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''Madness and Civilization'']<br />
<br />
[http://books.google.com/books?id=c53DEY3-qtcC&printsec=frontcover&dq=The+Birth+of+the+Clinic&hl=en&src=bmrr&ei=dye_TdqsHojl0QH5_9itCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CEUQ6AEwAA#v=onepage&q&f=false ''The Birth of the Clinic'']<br />
<br />
[http://books.google.com/books?id=gBJyqO5qrf8C&printsec=frontcover&dq=Death+and+The+Labyrinth&hl=en&src=bmrr&ei=mCe_TYq-L4PB0QHkmpnZBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDsQ6AEwAA#v=onepage&q&f=false ''Death and the Labyrinth'']<br />
<br />
[http://books.google.com/books?id=xVeRwX-AvLAC&printsec=frontcover&dq=The+Order+of+Things&hl=en&src=bmrr&ei=wSe_TfirI8b00gHH0Y3jBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''The Order of Things'']<br />
<br />
[http://books.google.com/books?id=Ma77jxOOmBcC&printsec=frontcover&dq=The+Archaeology+of+Knowledge&hl=en&ei=7ie_TdiUCcbx0gGFuemrBA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CCoQ6AEwAA#v=onepage&q&f=false ''Archaeology of Knowledge'']<br />
<br />
[http://books.google.com/books?id=o9cPAQAAMAAJ&q=Discipline+and+Punish&dq=Discipline+and+Punish&hl=en&ei=FSi_Ta3TDKXh0QHImb3nBQ&sa=X&oi=book_result&ct=result&resnum=1&ved=0CDEQ6AEwAA ''Discipline and Punish'']<br />
<br />
[http://books.google.com/books?id=oQBAPgAACAAJ&dq=The+History+of+Sexuality&hl=en&ei=OSi_TaPsK-yD0QG9mtTgBQ&sa=X&oi=book_result&ct=result&resnum=4&ved=0CDUQ6AEwAw ''The History of Sexuality'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
[http://en.wikipedia.org/wiki/Bibliography_of_Michel_Foucault Full Bibliography of Michel Foucault]<br />
<br />
[http://www.youtube.com/watch?v=87luYn3fQvY BBC Review of the Michael Foucault vs. Noam Chomsky 1971 Debate]</div>Chelseahttps://rhetorclick.com/wiki/Steven_D._KrauseSteven D. Krause2011-05-07T22:36:14Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Steven D. Krause is a professor in the Department of English Language and Literature at Eastern Michigan Univeristy, where he studies the connections between technology and writing.<br />
<br />
== Biography ==<br />
<br />
'''Education'''<br />
* BA in English from University of Iowa<br />
* MFA in Fiction Writing at Virginia Commonwealth Univeristy<br />
* Ph.D in Rhetoric and Writing Bowling State University, 1996<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]<br />
<br />
== Additional Works/Publications ==<br />
'''Articles'''<br />
<br />
“’Among the Greatest Benefactors of Mankind’: What the Success of Chalkboards Tells Us About the Future of Computers in the Classroom.” The Journal of the Midwest Modern Language Association, 33.2 Spring 2000. 6-16.<br />
<br />
“Cross Dressing the New Rhetorics: A Modest Metaphor.” Pre/Text (A journal on rhetorical theory) 16.3-4 (1995), 198-209.<br />
<br />
“Teachers Learning (Not Teaching) HTML With Students: An Experimental Lesson Plan for Introducing Web Authoring Into Writing Classes.” Writerly/Readerly Texts Special Issue, Janice Walker and John Barber, Editors. 7. 1, December 1999. 113-126.<br />
<br />
<br />
'''Websites/Blogs'''<br />
<br />
[http://www.technorhetoric.net/12.1/binder.html?topoi/krause/index.html ''"Where Do I List This on My CV?" Considering the Values of Self-Published Web Sites'']<br />
<br />
[http://english.ttu.edu/Kairos/9.1/binder.html?praxis/krause/index.html ''When Blogging Goes Bad: A Cautionary Tale About Blogs, Email Lists, Discussion, and Interaction'']<br />
<br />
[http://www.ibiblio.org/cmc/mag/1995/may/krause.html ''"How Will This Improve Student Writing?" Reflections on an Exploratory Study of Online and Off-Line Texts'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
<br />
[http://stevendkrause.com/ Steven D. Krause's Homepage]<br />
<br />
[http://www.emich.edu/english/details.php?dep=English&ID=85 Faculty Page at Eastern Michigan University]</div>Chelseahttps://rhetorclick.com/wiki/Steven_D._KrauseSteven D. Krause2011-05-07T22:36:02Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Steven D. Krause is a professor in the Department of English Language and Literature at Eastern Michigan Univeristy, where he studies the connections between technology and writing.<br />
<br />
== Biography ==<br />
<br />
'''Education'''<br />
* BA in English from University of Iowa<br />
* MFA in Fiction Writing at Virginia Commonwealth Univeristy<br />
* Ph.D in Rhetoric and Writing Bowling State University, 1996<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]<br />
<br />
== Additional Works/Publications ==<br />
'''Articles'''<br />
<br />
“’Among the Greatest Benefactors of Mankind’: What the Success of Chalkboards Tells Us About the Future of Computers in the Classroom.” The Journal of the Midwest Modern Language Association, 33.2 Spring 2000. 6-16.<br />
<br />
“Cross Dressing the New Rhetorics: A Modest Metaphor.” Pre/Text (A journal on rhetorical theory) 16.3-4 (1995), 198-209.<br />
<br />
“Teachers Learning (Not Teaching) HTML With Students: An Experimental Lesson Plan for Introducing Web Authoring Into Writing Classes.” Writerly/Readerly Texts Special Issue, Janice Walker and John Barber, Editors. 7. 1, December 1999. 113-126.<br />
<br />
<br />
'''Websites/Blogs'''<br />
[http://www.technorhetoric.net/12.1/binder.html?topoi/krause/index.html ''"Where Do I List This on My CV?" Considering the Values of Self-Published Web Sites'']<br />
<br />
[http://english.ttu.edu/Kairos/9.1/binder.html?praxis/krause/index.html ''When Blogging Goes Bad: A Cautionary Tale About Blogs, Email Lists, Discussion, and Interaction'']<br />
<br />
[http://www.ibiblio.org/cmc/mag/1995/may/krause.html ''"How Will This Improve Student Writing?" Reflections on an Exploratory Study of Online and Off-Line Texts'']<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
<br />
[http://stevendkrause.com/ Steven D. Krause's Homepage]<br />
<br />
[http://www.emich.edu/english/details.php?dep=English&ID=85 Faculty Page at Eastern Michigan University]</div>Chelseahttps://rhetorclick.com/wiki/Bill_Hart-DavidsonBill Hart-Davidson2011-05-07T22:32:37Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Bill Hart-Davidson is an Associate Professor of Rhetoric and Writing and Professional Writing programs at Michigan State University. Hart is the Co-Director of the Writing in Digital Environments (WIDE) research center. He received his Ph.D. from Purdue University. His research focus on technical communication and the development of new technologies on writing practices. <br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
'''Books'''<br />
<br />
'''Articles'''<br />
<br />
'''Blog'''<br />
<br />
[http://www.wide.msu.edu/ Writing in Digital Environments Blog]<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
<br />
[https://www.msu.edu/~wrac/faculty_staff/hart_davidson.html Michigan State University: Bill Hart-Davidson's Faculty Page]<br />
<br />
[http://twitter.com/#!/billhd Bill Hart-Davidson's Twitter]<br />
<br />
[http://www.youtube.com/watch?v=2ezp31uWx8I Video of interview about Online Learning]</div>Chelseahttps://rhetorclick.com/wiki/Bill_Hart-DavidsonBill Hart-Davidson2011-05-07T22:32:18Z<p>Chelsea: /* Additional Works/Publications */</p>
<hr />
<div>Bill Hart-Davidson is an Associate Professor of Rhetoric and Writing and Professional Writing programs at Michigan State University. Hart is the Co-Director of the Writing in Digital Environments (WIDE) research center. He received his Ph.D. from Purdue University. His research focus on technical communication and the development of new technologies on writing practices. <br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
Books<br />
<br />
Articles<br />
<br />
Blog<br />
<br />
[http://www.wide.msu.edu/ Writing in Digital Environments Blog]<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
<br />
[https://www.msu.edu/~wrac/faculty_staff/hart_davidson.html Michigan State University: Bill Hart-Davidson's Faculty Page]<br />
<br />
[http://twitter.com/#!/billhd Bill Hart-Davidson's Twitter]<br />
<br />
[http://www.youtube.com/watch?v=2ezp31uWx8I Video of interview about Online Learning]</div>Chelseahttps://rhetorclick.com/wiki/Bill_Hart-DavidsonBill Hart-Davidson2011-05-07T22:30:13Z<p>Chelsea: /* External Links */</p>
<hr />
<div>Bill Hart-Davidson is an Associate Professor of Rhetoric and Writing and Professional Writing programs at Michigan State University. Hart is the Co-Director of the Writing in Digital Environments (WIDE) research center. He received his Ph.D. from Purdue University. His research focus on technical communication and the development of new technologies on writing practices. <br />
<br />
<br />
== Biography ==<br />
<br />
<br />
== Article Summaries ==<br />
<br />
[[Hart-Davidson, Bill and Steven D. Krause “Re: The Future of Computers and Writing: A Multivocal Textumentary”]]<br />
<br />
<br />
== Additional Works/Publications ==<br />
<br />
== Further Readings ==<br />
<br />
== References ==<br />
<br />
== External Links ==<br />
<br />
[https://www.msu.edu/~wrac/faculty_staff/hart_davidson.html Michigan State University: Bill Hart-Davidson's Faculty Page]<br />
<br />
[http://twitter.com/#!/billhd Bill Hart-Davidson's Twitter]<br />
<br />
[http://www.youtube.com/watch?v=2ezp31uWx8I Video of interview about Online Learning]</div>Chelsea