Revision history for SeeingAsACritic


Revision [18192]

Last edited on 2014-09-06 08:50:16 by MorganAdmin
Additions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances.
Deletions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances. [Notes on affordances coming]


Revision [17990]

Edited on 2014-09-02 07:37:36 by MorganAdmin
Additions:
- [[http://erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue, fall 2013]]. Large image. Give it time to load.
Deletions:
- [[http://erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue, fall 2013]]


Revision [17989]

Edited on 2014-09-02 07:37:04 by MorganAdmin
Additions:
- [[http://erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue, fall 2013]]
Deletions:
- [[http://erhetoric.org/Erhetoric/images/ll bean fall 2013.png LL Bean Catalogue, fall 2013]]


Revision [17988]

Edited on 2014-09-02 07:35:22 by MorganAdmin
Additions:
- [[http://erhetoric.org/Erhetoric/images/ll bean fall 2013.png LL Bean Catalogue, fall 2013]]
Deletions:
- [[http://erhetoric.org/Erhetoric/images/ll_bean_fall_2013.png LL Bean Catalogue, fall 2013]]


Revision [17987]

Edited on 2014-09-02 07:34:31 by MorganAdmin
Additions:
- [[http://erhetoric.org/Erhetoric/images/ll_bean_fall_2013.png LL Bean Catalogue, fall 2013]]
Deletions:
- [[http://erhetoric/Erhetoric/images/ll_bean_fall_2013.png LL Bean]]


Revision [17986]

Edited on 2014-09-02 07:32:28 by MorganAdmin
Additions:
- [[http://erhetoric/Erhetoric/images/ll_bean_fall_2013.png LL Bean]]
- Lyric, [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]. Shakespeare, //Twelfth Night//, as displayed on the Poetry Foundation page.
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]


Revision [17985]

Edited on 2014-09-02 07:26:58 by MorganAdmin
Additions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]
Deletions:
- [[http://erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue cover, 2013]]
- Lyric, [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from //Twelth Night//, as displayed on the Poetry Foundation page.


Revision [17984]

Edited on 2014-09-02 07:26:20 by MorganAdmin
Additions:
- Lyric, [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from //Twelth Night//, as displayed on the Poetry Foundation page.
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from //Twelth Night//, as displayed on the Poetry Foundation page.


Revision [17983]

Edited on 2014-09-02 07:25:29 by MorganAdmin
Additions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from //Twelth Night//, as displayed on the Poetry Foundation page.
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from Midsummer, as displayed the Poetry Foundation page.


Revision [17982]

Edited on 2014-09-02 07:25:01 by MorganAdmin
Additions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], Shakespeare, from Midsummer, as displayed the Poetry Foundation page.
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]


Revision [17981]

Edited on 2014-09-02 07:22:58 by MorganAdmin
Additions:
- [[http://erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue cover, 2013]]
Deletions:
- [[http://erhetoric.org/erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue cover, 2013]]


Revision [17980]

Edited on 2014-09-02 07:22:40 by MorganAdmin
Additions:
- [[http://erhetoric.org/erhetoric.org/Erhetoric/images/ll%20bean%20fall%202013.png LL Bean Catalogue cover, 2013]]


Revision [17978]

Edited on 2014-09-02 06:59:34 by MorganAdmin
Additions:
- there may be other elements to consider. Add them. ...
Deletions:
- ...


Revision [17977]

Edited on 2014-09-02 06:59:03 by MorganAdmin
Deletions:


Revision [17976]

Edited on 2014-09-02 06:57:58 by MorganAdmin
Additions:
Go to your WikiName page and start a new page titled SeeingAsACritic - followed by your initials. Develop some notes in which you consider one of the rhetorical objects below:
In composing your notes

- Take a critical stance - a balcony view - to consider the message you've chosen.
Deletions:
Go to your WikiName page and start a new page titled SeeingAsACritic - followed by your initials. Develop some notes in which you consider one of the objects below:
In composing your notes, take a critical stance - a balcony view - to consider the material of message you've chosen.


Revision [17970]

Edited on 2014-09-02 06:44:13 by MorganAdmin
Additions:
Questions in the comments.


Revision [17968]

Edited on 2014-09-02 06:34:35 by MorganAdmin
Additions:
Go to your WikiName page and start a new page titled SeeingAsACritic - followed by your initials. Develop some notes in which you consider one of the objects below:
- [[http://www.rice.edu/ Rice University Homepage]]. Just the home page.
- any change, movement in the object, or interaction with the object
Deletions:
Go to your WikiName page and start a new page titled SeeingAsACritic - followed by your initials. Develop some notes in which you consider one of the artifacts below:
- [[http://www.rice.edu/ Rice University Homepage]]
- any change, movement in the artifact, or interaction with the artifact


Revision [17967]

Edited on 2014-09-02 06:33:34 by MorganAdmin
Additions:
This exercise is a little like the balcony view exercise in S&P. It asks you to describe a rhetorical object by taking a rhetorical stance: outside the rhetorical exchange, neutral, but detailed, descriptive, and non-evaluative.
Deletions:
This exercise is a little like the balcony view exercise in S&P. It asks you to describe a rhetorical object, but by taking a rhetorical stance: outside the rhetorical exchange, neutral, but detailed.


Revision [17966]

Edited on 2014-09-02 06:32:52 by MorganAdmin
Additions:
This exercise is a little like the balcony view exercise in S&P. It asks you to describe a rhetorical object, but by taking a rhetorical stance: outside the rhetorical exchange, neutral, but detailed.
- You're not trying to explain if the object is rhetorically effective or how it works. You're aiming just to describe it.
Deletions:
This exercise is a little like the balcony view exercise in S&P. It asks you to describe a rhetorical object, but by taking a rhetorical stance: outside the rhetorical exchange, neutral, but detailed.


Revision [17964]

Edited on 2014-09-02 06:25:02 by MorganAdmin
Additions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances. [Notes on affordances coming]
This exercise is a little like the balcony view exercise in S&P. It asks you to describe a rhetorical object, but by taking a rhetorical stance: outside the rhetorical exchange, neutral, but detailed.
Consider both the text other elements of the medium, in light of the apparent aim of the message. Look at
- arrangement of the text: progression from section to section, paragraph to paragraph, sentence to sentence ...
- physical arrangement of the text on the page: placement of chunks of text on the page or in the space, and implied movement from chunk to chunk
- register of the text (social and disciplinary domain or setting), style of formal, informal, semi-formal, or close to the audience or more distant. Refer to the Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements
- layout of the page: arrangement of visual elements such as text, navigation, images, links ...
- color: use or absence, placement, selection of colors. bright? muted? palette of colors.
In composing your notes, take a critical stance - a balcony view - to consider the material of message you've chosen.
- Hold off on evaluation: No need to judge the artifact, its aesthetic, its purported effectiveness.
- Hold off on gut reaction: Stand outside the rhetorical interaction as an observer.
Deletions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances. [Notes on affordances coming]
=== Artifacts ===
Consider both the text and the medium, in light of the apparent aim of the message. Look at
- arrangement of the text: progression from section to section, para to para, sentence to sentence ...
- placement of chunks of text on the page or in the space and implied movement from chunk to chunk
- register of the text (social and disciplinary domain or setting), style of formal, informal, semi-formal, or close to the audience or more distant. Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements
- layout of the page: arrangement of visual elements such as text, navigation, images, use of color, images, and links ...
Take a critical stance - a balcony view - to consider the material of message you've chosen.
Hold off on evaluation: No need to judge the artifact, its aesthetic, its purported effectiveness.
Hold off on gut reaction: Stand outside the rhetorical interaction as an observer.
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self and its aesthetics. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]].
The disheartening truth — a truth most often swept under the rug of aesthetic pleasure — is that while portraiture teaches us about the human range of emotions and character in general, no specific portrait can reliably be said to reveal the inner life of its subject. Instead, great artists have the daunting ability to deceive us into believing that they have painted the heart and soul of a person. When we are moved by a specific portrait, then, we are unwittingly moved by the artfulness of the artist rather than the personality of the sitter. " Laurie Fendrich.
[[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html E-Rhet Statement Comic]]
[[http://www.ecanadanow.com/news/entertainment/lindsay-lohan-falls-off-the-wagon-20080129.html Lindsay Lohen news story, E-Canada]]
- just to get started, compare image and text of [[http://www.msnbc.msn.com/id/22903608/ this account, from msnbc]]
- and [[http://news.google.com/news?q=lindsay+lohan&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&hl=en&ncl=1126976157&sa=X&oi=news_result&resnum=1&ct=more-results&cd=1 these headline versions]]
Cover of pop song
2 page spread from //Wired// magazine.
Facebook Profile
Saturday Fun Page, ''Bemidji Pioneer''
[[http://www.cs.rice.edu/~ssiyer/minstrels/poems/274.html This is to say]], William Carlos Williams
- and a [[http://tushuguan.blogspot.com/2007/10/of-plums-and-kitchens.html rhetorical response]]


Revision [17963]

Edited on 2014-09-02 06:16:32 by MorganAdmin
Additions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances. [Notes on affordances coming]
=== Artifacts ===
- [[http://www.rice.edu/ Rice University Homepage]]
- [[http://upload.wikimedia.org/wikipedia/commons/thumb/6/66/Johannes_Vermeer_%281632-1675%29_-_The_Girl_With_The_Pearl_Earring_%281665%29.jpg/419px-Johannes_Vermeer_%281632-1675%29_-_The_Girl_With_The_Pearl_Earring_%281665%29.jpg Girl with a Pearl Earring]], Vermeer, 1660.
- [[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, as displayed on Project Bartleby site.
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]
- [[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
- Google page for sunlamp. (Search sunlamp on Google and consider that page.)
- [[http://en.wikipedia.org/wiki/Bemidji,_Minnesota Wikipedia entry on Bemidji, MN]]
- arrangement of the text: progression from section to section, para to para, sentence to sentence ...
- placement of chunks of text on the page or in the space and implied movement from chunk to chunk
- register of the text (social and disciplinary domain or setting), style of formal, informal, semi-formal, or close to the audience or more distant. Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements
- layout of the page: arrangement of visual elements such as text, navigation, images, use of color, images, and links ...
- any change, movement in the artifact, or interaction with the artifact
- selection of and placement of images
Take a critical stance - a balcony view - to consider the material of message you've chosen.
Hold off on evaluation: No need to judge the artifact, its aesthetic, its purported effectiveness.
Hold off on gut reaction: Stand outside the rhetorical interaction as an observer.
Stay with this a while to start to develop a critical stance. Observations from the balcony view take some time to develop. About 500 words or so of //notes// - not an essay.
Deletions:
In coming to understand how messages work, we an start by considering what elements are rhetorically active in a message. The purpose of this exercise is not to come to any conclusions or evaluations but to start to see what can be seen as rhetorical affordances.
Take a critical stance - a balcony view - to consider what elements are rhetorical in the message you've been given. That is, identify the elements the rhetors //can// use and //do// use to address what rhetorical ends, and how they seem to use those elements.
[[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html page from the London Evening Standard]]
[[http://www.bemidjistate.edu BSU Home page]]
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]
[[http://www.youtube.com/watch?v=pv5zWaTEVkI OK Go on treadmills]]
- arrangement of the text: progression from sentence to sentence, paragraph to paragraph, section to section...
- style of the text: formal, informal, semi-formal ... close to the audience or more distant
- use of space and layout of the page
- arrangement of text on the page: chunks, columns, use of headings ...
- selection of and use of images
- use of color and shape and placement: for aesthetic ends, for rhetorical ends (including informational ends)
Stay with this a while to start to develop a critical stance. Observations from the balcony view take some time to develop. About 500 words or so of notes - not an essay.


Revision [17962]

Edited on 2014-09-02 06:05:07 by MorganAdmin
Additions:
Go to your WikiName page and start a new page titled SeeingAsACritic - followed by your initials. Develop some notes in which you consider one of the artifacts below:
Consider both the text and the medium, in light of the apparent aim of the message. Look at
- arrangement of the text: progression from sentence to sentence, paragraph to paragraph, section to section...
- arrangement of text on the page: chunks, columns, use of headings ...
- selection of and use of images
Stay with this a while to start to develop a critical stance. Observations from the balcony view take some time to develop. About 500 words or so of notes - not an essay.
Deletions:
Consider both the text and the medium, in light of the apparent aim of the message. Look at
- arrangement of the text: progression from sentence to sentence, para to para, section to section...
- selection of an use of images


Revision [17899]

Edited on 2014-09-01 12:34:09 by MorganAdmin
Additions:
Draw on Chaps 1 & 2
Deletions:
Stoner and Perkins, chaps 1 and 2
== critique ==
the process of coming to understand how a message works in relation to those who encounter it (S&P 13)
== critical stance ==
In taking a critical stance, a person consciously looks at a message from a more emotionally distant, broader, and theoretically informed point of view, rather than from the position of the rhetor or the audience members. (S&P 15)
== five characteristics of rhetoric ==
Stoner and Perkins (chap 1) list five characteristics of rhetoric - five characteristics that are not so much a litmus test for deciding whether a text is rhetorical but that provide a way of reading messages as rhetorical.
- rhetoric typically addresses public audiences
- rhetoric is purposeful
- rhetoric responds to and creates more or less obvious social concerns
- rhetoric relies on verbal and non-verbal symbols
- rhetoric shapes the way people think, act, believe, and feel


Revision [2808]

Edited on 2009-01-24 08:07:07 by MorganAdmin
Additions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self and its aesthetics. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]].
The disheartening truth — a truth most often swept under the rug of aesthetic pleasure — is that while portraiture teaches us about the human range of emotions and character in general, no specific portrait can reliably be said to reveal the inner life of its subject. Instead, great artists have the daunting ability to deceive us into believing that they have painted the heart and soul of a person. When we are moved by a specific portrait, then, we are unwittingly moved by the artfulness of the artist rather than the personality of the sitter. " Laurie Fendrich.
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]]. "The disheartening truth — a truth most often swept under the rug of aesthetic pleasure — is that while portraiture teaches us about the human range of emotions and character in general, no specific portrait can reliably be said to reveal the inner life of its subject. Instead, great artists have the daunting ability to deceive us into believing that they have painted the heart and soul of a person. When we are moved by a specific portrait, then, we are unwittingly moved by the artfulness of the artist rather than the personality of the sitter. " Laurie Fendrich.


Revision [2807]

Edited on 2009-01-24 08:06:30 by MorganAdmin
Additions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]]. "The disheartening truth — a truth most often swept under the rug of aesthetic pleasure — is that while portraiture teaches us about the human range of emotions and character in general, no specific portrait can reliably be said to reveal the inner life of its subject. Instead, great artists have the daunting ability to deceive us into believing that they have painted the heart and soul of a person. When we are moved by a specific portrait, then, we are unwittingly moved by the artfulness of the artist rather than the personality of the sitter. " Laurie Fendrich.
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]].


Revision [2806]

Edited on 2009-01-24 08:05:22 by MorganAdmin
Additions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self. A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]].
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.
A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]]. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self.


Revision [2714]

Edited on 2009-01-22 13:51:12 by MorganAdmin

No Differences

Revision [2713]

Edited on 2009-01-22 13:50:37 by MorganAdmin
Additions:
[[http://www.bemidjistate.edu BSU Home page]]
[[http://www.youtube.com/watch?v=pv5zWaTEVkI OK Go on treadmills]]
Deletions:
BSU Home page


Revision [2712]

Edited on 2009-01-22 13:48:12 by MorganAdmin
Additions:
== five characteristics of rhetoric ==
Deletions:
== to review ==


Revision [2685]

Edited on 2009-01-22 07:43:06 by MorganAdmin
Deletions:
Weblog page [[http://www.yousaidhello.co.uk/blog/?p=68 Hullo posting]]


Revision [285]

Edited on 2008-01-31 07:32:18 by MorganAdmin
Additions:
[[http://www.cs.rice.edu/~ssiyer/minstrels/poems/274.html This is to say]], William Carlos Williams
- and a [[http://tushuguan.blogspot.com/2007/10/of-plums-and-kitchens.html rhetorical response]]


Revision [282]

Edited on 2008-01-31 06:52:14 by MorganAdmin

No Differences

Revision [281]

Edited on 2008-01-31 06:41:26 by MorganAdmin
Additions:
Take a critical stance - a balcony view - to consider what elements are rhetorical in the message you've been given. That is, identify the elements the rhetors //can// use and //do// use to address what rhetorical ends, and how they seem to use those elements.
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]
[[http://www.ecanadanow.com/news/entertainment/lindsay-lohan-falls-off-the-wagon-20080129.html Lindsay Lohen news story, E-Canada]]
- just to get started, compare image and text of [[http://www.msnbc.msn.com/id/22903608/ this account, from msnbc]]
- and [[http://news.google.com/news?q=lindsay+lohan&ie=UTF-8&oe=utf-8&rls=org.mozilla:en-US:official&client=firefox-a&um=1&hl=en&ncl=1126976157&sa=X&oi=news_result&resnum=1&ct=more-results&cd=1 these headline versions]]
Deletions:
Take a critical stance - a balcony view - to consider what elements are rhetorical in the message you've been given. That is, identify the elements the rhetors ''can'' use and ''do'' use to address what rhetorical ends, and how they seem to use those elements.
2 page spread from //The Joy of Cooking//


Revision [280]

Edited on 2008-01-31 06:30:15 by MorganAdmin
Deletions:
[[http://www.flickr.com/photos/version-3-point-1/674528485/in/photostream/ Anne]]


Revision [279]

Edited on 2008-01-30 18:55:57 by MorganAdmin
Additions:
[[http://www.flickr.com/photos/version-3-point-1/674528485/in/photostream/ Anne]]
Deletions:
[[http://l.yimg.com/www.flickr.com/images/spaceball.gif Anne]]


Revision [278]

Edited on 2008-01-30 18:54:24 by MorganAdmin
Additions:
[[http://l.yimg.com/www.flickr.com/images/spaceball.gif Anne]]


Revision [277]

Edited on 2008-01-30 18:42:11 by MorganAdmin
Additions:
[[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html page from the London Evening Standard]]
Cover of pop song
Deletions:
[[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html | Evening Standard]]


Revision [276]

Edited on 2008-01-30 18:41:25 by MorganAdmin
Additions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.
[[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html E-Rhet Statement Comic]]
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg | Girl with a Pearl Earring]], Vermeer, 1660.
[[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html | E-Rhet Statement]]


Revision [275]

Edited on 2008-01-30 18:36:54 by MorganAdmin
Additions:
Facebook Profile
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg | Girl with a Pearl Earring]], Vermeer, 1660.
Deletions:
[[http://myspace.com/ | MySpace page]]
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg | Girl with a Pearl Earring]], Vermeer, 1660 to 166.


Revision [274]

Edited on 2008-01-30 18:36:05 by MorganAdmin
Additions:
Weblog page [[http://www.yousaidhello.co.uk/blog/?p=68 Hullo posting]]
Deletions:
Weblog page [[http://version3point1.wordpress.com/ | version 3.1]]


Revision [273]

Edited on 2008-01-30 18:28:24 by MorganAdmin
Deletions:
[[http://ideant.typepad.com/ideant/2005/02/ant_idea_1.html | antidea]]


Revision [253]

Edited on 2008-01-29 07:43:28 by MorganAdmin
Additions:
- arrangement of the text: progression from sentence to sentence, para to para, section to section...
- style of the text: formal, informal, semi-formal ... close to the audience or more distant
- use of space and layout of the page
- selection of an use of images
- use of color and shape and placement: for aesthetic ends, for rhetorical ends (including informational ends)
- ...
[[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html | Evening Standard]]
BSU Home page
Saturday Fun Page, ''Bemidji Pioneer''
Weblog page [[http://version3point1.wordpress.com/ | version 3.1]]
2 page spread from //The Joy of Cooking//
2 page spread from //Wired// magazine.
[[http://myspace.com/ | MySpace page]]
[[http://ideant.typepad.com/ideant/2005/02/ant_idea_1.html | antidea]]
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg | Girl with a Pearl Earring]], Vermeer, 1660 to 166.
[[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html | E-Rhet Statement]]
Deletions:
* arrangement of the text: progression from sentence to sentence, para to para, section to section...
* style of the text: formal, informal, semi-formal ... close to the audience or more distant
* use of space and layout of the page
* selection of an use of images
* use of color and shape and placement: for aesthetic ends, for rhetorical ends (including informational ends)
* ...
* [[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html | Evening Standard]]
* BSU Home page
* Saturday Fun Page, ''Bemidji Pioneer''
* Weblog page [[http://version3point1.wordpress.com/ | version 3.1]]
* 2 page spread from ''The Joy of Cooking''
* 2 page spread from ''Wired'' magazine.
* [[http://myspace.com/ | MySpace page]]
* [[http://ideant.typepad.com/ideant/2005/02/ant_idea_1.html | antidea]]
* [[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg | Girl with a Pearl Earring]], Vermeer, 1660 to 166.
* [[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html | E-Rhet Statement]]


Revision [252]

Edited on 2008-01-29 07:36:57 by MorganAdmin
Additions:
=====Seeing as a Critic=====


Revision [247]

Edited on 2008-01-29 07:16:34 by MorganAdmin
Additions:
Stoner and Perkins, chaps 1 and 2
Deletions:
Connects with Stoner and Perkins, chap 2


Revision [202]

Edited on 2008-01-24 07:33:57 by MorganAdmin
Additions:
A note on [[http://mcmorgan.org/blog/?p=75 portraiture as rhetorical]]. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self.
Deletions:
A note on [[http://biro.bemidjistate.edu/blog/?p=77 | portraiture as rhetorical]]. From a critical perspective, a portrait becomes a rhetorical message; and as a rhetorical message, we focus on something other than the revelation of a self.


Revision [201]

Edited on 2008-01-24 07:29:56 by MorganAdmin
Additions:
== critique ==
the process of coming to understand how a message works in relation to those who encounter it (S&P 13)
== critical stance ==
In taking a critical stance, a person consciously looks at a message from a more emotionally distant, broader, and theoretically informed point of view, rather than from the position of the rhetor or the audience members. (S&P 15)
== to review ==
- rhetoric typically addresses public audiences
- rhetoric is purposeful
- rhetoric responds to and creates more or less obvious social concerns
- rhetoric relies on verbal and non-verbal symbols
- rhetoric shapes the way people think, act, believe, and feel
Deletions:
!!!! critique
-> the process of coming to understand how a message works in relation to those who encounter it (S&P 13)
!!!! critical stance
-> In taking a critical stance, a person consciously looks at a message from a more emotionally distant, broader, and theoretically informed point of view, rather than from the position of the rhetor or the audience members. (S&P 15)
!!!! to review
* rhetoric typically addresses public audiences
* rhetoric is purposeful
* rhetoric responds to and creates more or less obvious social concerns
* rhetoric relies on verbal and non-verbal symbols
* rhetoric shapes the way people think, act, believe, and feel


Revision [101]

The oldest known version of this page was created on 2007-12-27 09:13:44 by MorganAdmin
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