RhetorClick - User contributions [en]

User:SarahBassler

2011-05-15T01:11:00Z

SarahBassler:

My name is Sarah Bassler. I am Senior this year and majoring in English Writing and Rhetoric. I am scheduled to graduate in December 2011 and I plan on going to law school, hopefully somewhere in Texas. I have loved my college experience at St. Edward's and cherish all of the friendships and relationships that I have made throughout my four years.

My Contributions
*I have contributed to the gloassary page by adding words and connecting them with their article summary page.
*I organized a few pages in a correct alphabetical way.
*I contributed an article summary.
*I fixed a few pages that were incorrectly connected.
*I also connected article summaries with their author pages.

Donald C. Bryant

2011-04-12T02:02:37Z

SarahBassler:

Donald C. Bryant (1905-1987) studied speech and English at Cornell University. He taught at the high school and university levels; he was a professor at New York State College for Teachers, Washington University, and University of Iowa. He was an editor for The Quarterly Journal of Speech for one term, and the president of the Speech Communication Association. He is known for defining the function of rhetoric as, “Adjusting ideas to people and people to ideas.”

== Article Summaries ==

[http://4341.quinnwarnick.com/wiki/Bryant,_Donald_C._%22Rhetoric:_Its_Functions_and_Its_Scope%22 Rhetoric: Its Functions and Its Scope]

[[Bryant, Donald C. "Rhetoric: Its Functions and Its Scope"]]

Dennis Baron

2011-04-12T02:01:51Z

SarahBassler:

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''.

'''Education'''

*Bachelors degree in English and American Literature from Brandeis University in 1965
*Masters degree in English and Comparative Literature from Columbia University in 1968
*Ph.D in English Language and Literature from the University of Michigan in 1971

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 like 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.

'''MLA citations for Baron's book publications'''

Baron, Dennis. ''A Better Pencil: Readers, Writers, and the Digital Revolution''. New York and Oxford: Oxford University Press, 2009. Print.

Baron, Dennis. ''Guide to Home Language Repair''. Urbana: National Council of Teachers of English, 1994. Print.

Baron, Dennis. ''Declining Grammar and other essays on the English vocabulary''. Urbana: National Council of Teachers of English, 1994. Print

Baron, Dennis. ''The English-Only Question: An Official Language for Americans?''. New Haven: Yale University Press, 1990. Print.

Baron, Dennis. ''Grammar and Gender''. New Haven: Yale University Press, 1896. Print.

Baron, Dennis. ''Grammar and Good Taste: Reforming the American Language''. New Haven: Yale University Press, 1982. Print.

Baron, Dennis. ''Going Native: The Regeneration of Saxon English''. Tuscaloosa: University of Alabama Press, 1982. Print.

[[Baron, Dennis "From Pencils to Pixels: The Stages of Literacy Technology"]]

Barthes, Roland "Death of the Author"

2011-04-12T02:00:44Z

SarahBassler:

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

[[Roland Barthes]]

Roland Barthes

2011-04-12T02:00:23Z

SarahBassler:

Roland Barthes (1915-1980) was a French philosopher, literary theorist and critic. He taught in France, Romania and Egypt while he wrote Writing Degree Zero. In 1952, he started at the Centre National de la Recherche Scientifique to study sociology and lexicology. After writing numerous well-known essays, Barthes began traveling to lecture. In 1967, he wrote The Death of the Author, and in 1977, he was elected to the chair of Semilogie Litteraire at the College de France.

Barthes, Roland "Death of the Author"

Roland Barthes

2011-04-12T01:59:47Z

SarahBassler:

Roland Barthes Roland Barthes (1915-1980) was a French philosopher, literary theorist and critic. He taught in France, Romania and Egypt while he wrote Writing Degree Zero. In 1952, he started at the Centre National de la Recherche Scientifique to study sociology and lexicology. After writing numerous well-known essays, Barthes began traveling to lecture. In 1967, he wrote The Death of the Author, and in 1977, he was elected to the chair of Semilogie Litteraire at the College de France.

Barthes, Roland "Death of the Author"

Authors

2011-04-12T01:59:27Z

SarahBassler:

*[[Mikhail Bakhtin]]
*[[Dennis Baron]]
*[[Roland Barthes]]
*[[Douglas Brent]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[Michel Foucault]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Chaim Perelman]]
*[[Richard Ohmann]]
*[[I. A. Richards]]
*[[Ferdinand de Saussure]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[John M. Slatin]]
*[[Madeleine Sorapure]]
*[[Stephen Toulmin]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

Authors

2011-04-12T01:59:13Z

SarahBassler:

*[[Mikhail Bakhtin]]
*[[Denis Baron]]
*[[Roland Barthes]]
*[[Douglas Brent]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[Michel Foucault]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Chaim Perelman]]
*[[Richard Ohmann]]
*[[I. A. Richards]]
*[[Ferdinand de Saussure]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[John M. Slatin]]
*[[Madeleine Sorapure]]
*[[Stephen Toulmin]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"

2011-04-12T01:57:51Z

SarahBassler:

[[Ferdinand de Saussure]] was a great influence on [[Mikhail Bakhtin]], author of the article “Toward a Methodology for the Human Sciences.” Here Bakhtin outlies a variety of theories that aid understanding in the non-exact human sciences. For one, he contrasts the idea of a subject (or personality) with a thing, saying that understanding of a subject must be dialogic, i.e., based on contextual meaning (unlike the monological dialectic of the natural sciences). Through dialogic contact, one’s own words and another’s words join to form a personality, which requires a semantic context. Bakhtin also discusses reification (becoming a thing) and personification (becoming a personality), saying neither can be reached in full.

[[Mikhail Bakhtin]]

Mikhail Bakhtin

2011-04-12T01:57:30Z

SarahBassler:

(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.

[[Bakhtin, Mikhail "Toward a Methodology for the Human Sciences"]]

John M. Slatin

2011-04-07T15:45:25Z

SarahBassler:

enter text here.

[[“Reading Hypertext: Order and Coherence in a New Medium” by John M. Slatin]]

Authors

2011-04-07T15:44:58Z

SarahBassler:

*[[Mikhail Bakhtin]]
*[[Roland Barthes]]
*[[Douglas Brent]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[Michel Foucault]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Chaim Perelman]]
*[[Richard Ohmann]]
*[[I. A. Richards]]
*[[Ferdinand de Saussure]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[John M. Slatin]]
*[[Madeleine Sorapure]]
*[[Stephen Toulmin]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

John M. Slatin

2011-04-07T15:44:33Z

SarahBassler: Created page with "enter text here."

enter text here.

“Reading Hypertext: Order and Coherence in a New Medium” by John M. Slatin

2011-04-07T15:43:54Z

SarahBassler: Created page with "enter text here. John M. Slatin"

enter text here.

[[John M. Slatin]]

Andrea A. Lunsford

2011-04-07T15:32:49Z

SarahBassler: Created page with "enter text here. "On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede"

enter text here.

[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

Lisa S. Ede

2011-04-07T15:32:30Z

SarahBassler: Created page with "enter text here. "On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede"

enter text here.

[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

Authors

2011-04-07T15:31:42Z

SarahBassler:

*[[Mikhail Bakhtin]]
*[[Roland Barthes]]
*[[Douglas Brent]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa S. Ede]]
*[[Michel Foucault]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea A. Lunsford]]
*[[Mike Palmquist]]
*[[Chaim Perelman]]
*[[Richard Ohmann]]
*[[I. A. Richards]]
*[[Ferdinand de Saussure]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[Madeleine Sorapure]]
*[[Stephen Toulmin]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

"On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede

2011-04-07T15:29:49Z

SarahBassler:

enter article summary here.

[[Andrea A. Lunsford]] & [[Lisa S. Ede]]

“The Politics of the Interface: Power and Its Exercise in Electronic Contact Zones” by Cynthia L. Selfe & Richard J. Selfe Jr.

2011-04-07T15:29:14Z

SarahBassler: Created page with "enter article summary here Cynthia L. Selfe & Richard J. Selfe Jr."

enter article summary here

[[Cynthia L. Selfe]] & [[Richard J. Selfe Jr.]]

Michel Foucault

2011-04-07T15:28:25Z

SarahBassler:

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.

[["What Is an Author?" by Michel Foucault]]

"What Is an Author?" by Michel Foucault

2011-04-07T15:28:03Z

SarahBassler: Created page with "enter articles summary here. Michel Foucault"

enter articles summary here.

[[Michel Foucault]]

I. A. Richards

2011-04-07T15:27:12Z

SarahBassler:

I. A. Richards (1893-1979) studied philosophy at Magdalene College, Cambridge. He taught his first literary class at Magdalene. After working with C. K Ogen, he began studying interpretation, and after seeing his students’ interpretations of poems, he wrote Practical Criticism and Principles of Literary Criticism. Once he started teaching at Harvard University, he argued that it is useless to have theory without application. He is most known for the revival of the rhetorical triangle, as well as being the father of New Criticism.

[["How to Read a Page" by I. A. Richards]]

"How to Read a Page" by I. A. Richards

2011-04-07T15:26:55Z

SarahBassler:

In “How to Read a Page,” [[I. A. Richards]] writes at length about ideal strategies for interacting with and making meaning out of texts. He explains the difficulties involved in varying interpretations and outlines some common words that are important, but ambiguous. He then illustrates the complexities involved in reading a page by providing an example: a somewhat abstruse passage written by Aristotle. Richards rewrites this passage in plain English and highlights various distinctions he makes in his rewritten version. His analysis leads him to make the following conclusions about reading pages: it helps to read text keeping in mind vocal emphases to better discern structure (reading aloud), to read slowly and deliberately, and to read with an eye for comparison between meanings—or “translation” in the sense of figuring out the context in which different words are used.

[[I. A. Richards]]

I. A. Richards

2011-04-07T15:25:55Z

SarahBassler: Created page with "I. A. Richards (1893-1979) studied philosophy at Magdalene College, Cambridge. He taught his first literary class at Magdalene. After working with C. K Ogen, he began studying in..."

Authors

2011-04-07T15:25:16Z

SarahBassler:

*[[Mikhail Bakhtin]]
*[[Roland Barthes]]
*[[Douglas Brent]]
*[[Donald C. Bryant]]
*[[Kenneth Burke]]
*[[Jim W. Corder]]
*[[Lisa Ede]]
*[[Michel Foucault]]
*[[S. Michael Halloran]]
*[[Bill Hart-Davidson]]
*[[Johndan Johnson-Eilola]]
*[[Steven D. Krause]]
*[[John Logie]]
*[[Andrea Lunsford]]
*[[Mike Palmquist]]
*[[Chaim Perelman]]
*[[Richard Ohmann]]
*[[I. A. Richards]]
*[[Ferdinand de Saussure]]
*[[Robert L. Scott]]
*[[Cynthia L. Selfe]]
*[[Richard J. Selfe Jr.]]
*[[Madeleine Sorapure]]
*[[Stephen Toulmin]]
*[[Richard Weaver]]
*[[Sean D. Williams]]
*[[Kathleen Blake Yancey]]

Authors

2011-04-07T15:11:41Z

SarahBassler:

*[[Andrea Lunsford]]
*[[Bill Hart-Davidson]]
*[[Chaim Perelman]]
*[[Cynthia L. Selfe]]
*[[Donald C. Bryant]]
*[[Douglas Brent]]
*[[Ferdinand de Saussure]]
*[[I.A Richards]]
*[[Jim W. Corder]]
*[[John Logie]]
*[[Johndan Johnson-Eilola]]
*[[Kathleen Blake Yancey]]
*[[Kenneth Burke]]
*[[Lisa Ede]]
*[[Madeleine Sorapure]]
*[[Michel Foucault]]
*[[Mike Palmquist]]
*[[Mikhail Bakhtin]]
*[[Richard Ohmann]]
*[[Richard J. Selfe Jr.]]
*[[Richard Weaver]]
*[[Robert L. Scott]]
*[[Roland Barthes]]
*[[S. Michael Halloran]]
*[[Sean D. Williams]]
*[[Stephen Toulmin]]
*[[Steven D. Krause]]

Glossary

2011-04-07T15:09:00Z

SarahBassler: /* T */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

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

== L ==

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

== M ==

== N ==

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

== O ==

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

== P ==

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

== Q ==

== R ==

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

== S ==

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

== T ==

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

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:08:45Z

SarahBassler: /* S */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

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

== L ==

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

== M ==

== N ==

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

== O ==

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

== P ==

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

== Q ==

== R ==

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

== S ==

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

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:08:16Z

SarahBassler: /* P */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

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

== L ==

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

== M ==

== N ==

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

== O ==

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

== P ==

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

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:07:34Z

SarahBassler: /* L */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

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

== L ==

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

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:07:08Z

SarahBassler: /* K */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

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

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:06:42Z

SarahBassler: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

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

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:05:33Z

SarahBassler: /* D */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

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

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T15:05:03Z

SarahBassler: /* A */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]
*'''Antistrophos''': counterpart, companion [["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

"On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede

2011-04-07T15:03:56Z

SarahBassler:

enter article summary here.

[[Andrea A. Lunsford and Lisa S. Ede]]

Andrea A. Lunsford and Lisa S. Ede

2011-04-07T15:03:35Z

SarahBassler: Created page with "enter information about author here. "On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede"

enter information about author here.

[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

"On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede

2011-04-07T15:03:14Z

SarahBassler:

[[Andrea A. Lunsford and Lisa S. Ede]]

"On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede

2011-04-07T15:02:32Z

SarahBassler: Created page with " "On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede"

[["On Distinctions between Classical and Modern Rhetoric" by Andrea A. Lunsford and Lisa S. Ede]]

Article Summaries

2011-04-07T15:01:57Z

SarahBassler:

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

Ferdinand de Saussure

2011-04-07T14:56:09Z

SarahBassler:

Ferdinand De Saussure (1857-1907) was a Swiss linguist. He studied linguistics at the University of Leipzig (1876) then later studied in Berlin. From 1881-1891, after receiving his doctorate from Leipzig, he taught in Paris, and in 1891, he accepted a professorship at Geneva. He taught at the University of Geneva for the rest of his career. In 1907, he started teaching General Linguistics.

[["Nature of the Linguistic Sign" by Ferdinand de Saussure]]

Glossary

2011-04-07T14:55:30Z

SarahBassler: /* S */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Signifier''': the material (or physical form) of the sign ([["Nature of the Linguistic Sign" by Ferdinand de Saussure]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

“Contrasts: Teaching and Learning about Writing in Traditional and Computer Classrooms” by Mike Palmquist, Kate Kiefer, James Hartvigsen, and Barbara Goodlew

2011-04-07T13:14:11Z

SarahBassler:

[[Mike Palmquist]]

The authors of this articles highlighted the difference between writing in a traditional classroom versus a computer classroom by looking at these specific areas: “teaching strategies and class preparation; teacher attitudes about teaching in the two classroom settings; interactions among students and between teachers and students; students attitudes about writing, and student writing performance” (252). The seven themes they identified with in their studies were as followed: “ curricular issues; teachers roles; interaction among classmates between students and teachers; the classroom context; transfer of activities from the computer to the traditional classrooms; the introductions and use of technology in the computer classroom, and; student attitudes and writing performance” (255). With these themes, teachers noted that students tended to write more in the computer classroom and has less anxiety about using technology, while in the traditional classroom the students resisted writing because they found that drafting and reviewing seemed unnecessary because they were going to have to type it up later. Traditional classrooms were more teacher focused, because the teachers felt they had to constantly be giving instruction and leading the class through lectures, group discussions, and more; whereas, the computer classrooms were more student focused and the teachers served more as a role of a supporter by putting the responsibility on their students for their own learning. The hardest part for the teachers was to try to put the things they found effective in one class in the other. There were many difference to the interaction between students and teachers inside and outside of class in both cases, but students seem to talk more to each other about writing in the computer classroom.

Glossary

2011-04-07T13:11:56Z

SarahBassler: /* S */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:11:15Z

SarahBassler: /* L */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])
*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:10:43Z

SarahBassler: /* B */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:10:03Z

SarahBassler: /* B */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:09:46Z

SarahBassler: /* E */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])
*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:08:58Z

SarahBassler: /* B */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-04-07T13:08:39Z

SarahBassler: /* A */

This page is dedicated to key terms from the readings.

== A ==

*'''Affective Fallacy''': Wimsatt and Berdsley claimed that evaluating literature by the way it affects the reader is uselessly subjective. Again, literature should be evaluated through its use of language, not outside factors (Richards [[February 1 Class Notes]])
*'''Aleatoric''': according to chance (Lunsford and Ede [[January 20 Class Notes]])
*'''Ambiguity''': Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards [[February 1 Class Notes]])
*'''Animism''': according to Aristotle, all objects have souls (Lunsford and Ede [[January 20 Class Notes]])
*'''Antistrophos''': counterpart, companion (Lunsford and Ede [[January 20 Class Notes]])

== B ==

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

== C ==

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

== D ==

*'''Death of the Author''': Roland Barthe's essay argues that the author must be disentangled from the text (Richards [[February 1 Class Notes]])
*'''Dialectic''': two-sided dialogue, formal argumentation system, conversation (Lunsford and Ede [[January 20 Class Notes]])
*'''Doxa''': social knowledge (Lunsford and Ede [[January 20 Class Notes]])

== E ==

*'''Episteme''': core, truths of the earth knowledge (Lunsford and Ede [[January 20 Class Notes]])
*'''Emthymeme''': uses audience's assumptions, only use 1 premise (Lunsford and Ede [[January 20 Class Notes]])
*'''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 [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke [[January 27 Class Notes]])
*'''Entelechy''': the actualization of form-giving cause as contrasted with potential existence. (Burke [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*'''Intentional Fallacy''': William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards [[February 1 Class Notes]])
*'''Interpretant''': how you perceive the representamen (Peirce [[January 25 Class Notes]])

== J ==

== K ==

*'''Krisis''': point of judgment, moment of decision (Lunsford and Ede [[January 20 Class Notes]])

== L ==

*'''Logos''': the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: Lunsford and Ede [[January 20 Class Notes]])
*'''Logology''': study of language and symbols (Burke [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*'''Paradeigma''': use of example or evidence to prove a point (Lunsford and Ede [[January 20 Class Notes]])
*'''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: Lunsford and Ede [[January 20 Class Notes]])
*'''Pisteis''': proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (Lunsford and Ede [[January 20 Class Notes]])
*'''Poeis''': fine arts (Lunsford and Ede [[January 20 Class Notes]])
*'''Proofs''': Justification, reasoning, argumentation. (Perelman [[February 10 Class Notes]])

== Q ==

== R ==

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

== S ==

*'''Signifier''': the material (or physical form) of the sign (Saussure [[January 25 Class Notes]])
*'''Signified''': concept in the mind (not a thing but the notion of a thing) (Saussure [[January 25 Class Notes]])
*'''Syllogism''': logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (Lunsford and Ede [[January 20 Class Notes]])

== T ==

*'''Techne''': art, craft (Lunsford and Ede [[January 20 Class Notes]])
*'''Telos''': an ultimate end. (Burke [[January 27 Class Notes]])
*'''Tropism''': growth toward or away from external stimulus (Burke [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-03-22T13:00:08Z

SarahBassler: /* H */

This page is dedicated to key terms from the readings.

== A ==

*Aleatoric: according to chance (see [[January 20 Class Notes]], from Lunsford and Ede)
*Animism: according to Aristotle, all objects have souls (see [[January 20 Class Notes]], from Lunsford and Ede)
*Antistrophos: counterpart, companion (see [[January 20 Class Notes]], from Lunsford and Ede)
*Ambiguity: Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards: see [[February 1 Class Notes]])
*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 (Richards: see [[February 1 Class Notes]])

== B ==

== C ==

*Close Reading: Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards: see [[February 1 Class Notes]])

== D ==

*Death of the Author: Roland Barthe's essay argues that the author must be disentangled from the text (Richards: see [[February 1 Class Notes]])
*Dialectic: two-sided dialogue, formal argumentation system, conversation (see [[January 20 Class Notes]], from Lunsford and Ede)
*Doxa: social knowledge (see [[January 20 Class Notes]], from Lunsford and Ede)

== E ==

*Episteme: core, truths of the earth knowledge (see [[January 20 Class Notes]], from Lunsford and Ede)
*Emthymeme: uses audience's assumptions, only use 1 premise (see [[January 20 Class Notes]], from Lunsford and Ede)
*Ethos: The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke: see [[January 27 Class Notes]])
*Entelechy (Burke: see [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*Intentional Fallacy: William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards: see [[February 1 Class Notes]])
*Interpretant: how you perceive the representamen (Peirce: see [[January 25 Class Notes]])

== J ==

== K ==

*Krisis: point of judgment, moment of decision (see [[January 20 Class Notes]], from Lunsford and Ede)

== L ==

*Logos: the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)
*Logology-study of language and symbols (Burke: see [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*Paradeigma: use of example or evidence to prove a point (see [[January 20 Class Notes]], from Lunsford and Ede)
*Pathos: the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)
*Pisteis: proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (see [[January 20 Class Notes]], from Lunsford and Ede)
*Poeis: fine arts (see [[January 20 Class Notes]], from Lunsford and Ede)

== Q ==

== R ==

*Representamen: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce: see [[January 25 Class Notes]])

== S ==

*Signifier: the material (or physical form) of the sign (Saussure: see [[January 25 Class Notes]])
*Signified: concept in the mind (not a thing but the notion of a thing) (Saussure: see [[January 25 Class Notes]])
*Syllogism: logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [[January 20 Class Notes]], from Lunsford and Ede)

== T ==

*Techne: art, craft (Lunsford and Ede: see [[January 20 Class Notes]])
*Telos (Burke: see [[January 27 Class Notes]])
*Tropism (Burke: see [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==

Glossary

2011-03-22T12:59:29Z

SarahBassler: /* H */

This page is dedicated to key terms from the readings.

== A ==

*Aleatoric: according to chance (see [[January 20 Class Notes]], from Lunsford and Ede)
*Animism: according to Aristotle, all objects have souls (see [[January 20 Class Notes]], from Lunsford and Ede)
*Antistrophos: counterpart, companion (see [[January 20 Class Notes]], from Lunsford and Ede)
*Ambiguity: Richards showed how under-examined ambiguities can lead to misinterpretation of an entire work (Richards: see [[February 1 Class Notes]])
*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 (Richards: see [[February 1 Class Notes]])

== B ==

== C ==

*Close Reading: Richards shifted the focus from general analysis to a meticulous, word-level method of interpretation, which has greatly influenced modern criticism. (Richards: see [[February 1 Class Notes]])

== D ==

*Death of the Author: Roland Barthe's essay argues that the author must be disentangled from the text (Richards: see [[February 1 Class Notes]])
*Dialectic: two-sided dialogue, formal argumentation system, conversation (see [[January 20 Class Notes]], from Lunsford and Ede)
*Doxa: social knowledge (see [[January 20 Class Notes]], from Lunsford and Ede)

== E ==

*Episteme: core, truths of the earth knowledge (see [[January 20 Class Notes]], from Lunsford and Ede)
*Emthymeme: uses audience's assumptions, only use 1 premise (see [[January 20 Class Notes]], from Lunsford and Ede)
*Ethos: The persuasive appeal of one's character, especially how this character is established by means of speech or discourse. Ethotic appeals rely on the trustworthiness of the speaker or writer. Ethos is an effective appeal because when the audience believes that the speaker does not intend to do them harm, they are more likely to trust what is being said. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)*Etymologically (Burke: see [[January 27 Class Notes]])
*Entelechy (Burke: see [[January 27 Class Notes]])

== F ==

== G ==

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

== I ==

*Intentional Fallacy: William K. Wimsatt and Monroe Beardsley asserted that the author's words, not his intent, should be studied. Richards argued that since an authors mind can never be known, we can only examine her words (Richards: see [[February 1 Class Notes]])
*Interpretant: how you perceive the representamen (Peirce: see [[January 25 Class Notes]])

== J ==

== K ==

*Krisis: point of judgment, moment of decision (see [[January 20 Class Notes]], from Lunsford and Ede)

== L ==

*Logos: the appeal to reason. Logical appeals attempt to persuade the audience using intellect. Most academic arguments rely mainly on logos. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)
*Logology-study of language and symbols (Burke: see [[January 27 Class Notes]])

== M ==

== N ==

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

== O ==

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

== P ==

*Paradeigma: use of example or evidence to prove a point (see [[January 20 Class Notes]], from Lunsford and Ede)
*Pathos: the appeal to emotion. When people accept a claim based on how it makes them feels=, they are acting on pathos. A majority of advertisements and arguments in the popular press rely heavily on pathetic appeals. Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action. (Persuasive appeals: see [[January 20 Class Notes]], from Lunsford and Ede)
*Pisteis: proofs, persuasive appeals (logos, ethos, pathos); artistic (logical, logos, nonlogical, ethos and pathos) and inartistic (tangible evidence) proofs (see [[January 20 Class Notes]], from Lunsford and Ede)
*Poeis: fine arts (see [[January 20 Class Notes]], from Lunsford and Ede)

== Q ==

== R ==

*Representamen: what something represents to you personally (creates in the mind of that person an equivalent sign, or perhaps a more developed sign) (Peirce: see [[January 25 Class Notes]])

== S ==

*Signifier: the material (or physical form) of the sign (Saussure: see [[January 25 Class Notes]])
*Signified: concept in the mind (not a thing but the notion of a thing) (Saussure: see [[January 25 Class Notes]])
*Syllogism: logical/deductive, conclusion resting on 2 premises (major, minor, conclusion) (see [[January 20 Class Notes]], from Lunsford and Ede)

== T ==

*Techne: art, craft (Lunsford and Ede: see [[January 20 Class Notes]])
*Telos (Burke: see [[January 27 Class Notes]])
*Tropism (Burke: see [[January 27 Class Notes]])

== U ==

== V ==

== W ==

== X ==

== Y ==

== Z ==