Revision history for WhatMakesThisRhetorical


Revision [23905]

Last edited on 2016-09-13 05:56:49 by MorganAdmin
Additions:
This exercise is //a trial run //at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises.
Read //Rhetorical Analysis// chapter 1 and chapter 2 to p 21.
Deletions:
This exercise is //a trial run //at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.


Revision [23052]

Edited on 2015-12-01 06:25:09 by MorganAdmin
Additions:
Rhetoric: The art and science of creating and analyzing "messages that rely on verbal and nonverbal symbols that more or less intentionally influence social attitudes, values, beliefs, and actions." (Stoner and Perkins, 6).
Deletions:
Rhetoric: The art and science of creating and analyzing "messages that rely on verbal and nonverbal symbols that more or less intentionally influence social attitudes, values, beliefs, and actions." (Stoner and Perkins, 6).


Revision [21213]

Edited on 2015-08-31 10:33:02 by MorganAdmin
Additions:
Go to your wiki name page and start a new page titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the heading below into your page to get started.
Deletions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the heading below into your page to get started.


Revision [21212]

Edited on 2015-08-31 10:28:45 by MorganAdmin
Additions:
>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}>>=====What Makes This Rhetorical? An exercise =====
- [[http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg Start Seeing Motorcycles bumper sticker]]
Deletions:
=====What Makes This Rhetorical? An exercise =====


Revision [21208]

Edited on 2015-08-31 10:22:43 by MorganAdmin
Additions:
=====What Makes This Rhetorical? An exercise =====
This exercise is //a trial run //at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.
Take at least an hour of close, studied work of observation and notes for this exercise. Two hours will yield even more. And three, even more.
If you're unsure how to proceed, don't worry. Take a breath and start taking notes. People learn to do this by actually doing it for a while, unsure at first, but gaining a sense of the task.
Contemporary rhetoricians take the perspective that any language artifact is rhetorical. A text or object might not be overtly persuasive, but it does influence attitudes, values, or beliefs. As in this definition from Stoner and Perkins:
Rhetoric: The art and science of creating and analyzing "messages that rely on verbal and nonverbal symbols that more or less intentionally influence social attitudes, values, beliefs, and actions." (Stoner and Perkins, 6).
For a message to be rhetorical, it must rely on symbols - natural language, typically, but the language of film, dance, spacial organization, and the like are all symbolic - but the rhetor need not intentionally or overtly attempt to influence. So, we can say that
Rhetorical messages aim to shape the way people think, act, feel, or believe.
To explore what this means, we'll look at a few artifacts that we don't often see as rhetorical.
==== How to proceed====
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the heading below into your page to get started.
You are going to be composing //notes// - observations, things to notice - not essays. You're not arguing a point or coming to any conclusions, so relax and observe.
Choose one of the artifacts below to work with. Copy and paste the link to the artifact into your page so you and I can refer to it. Keep the artifact open in a second browser window as you work. Attention to the actual artifact is important in this exercise.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and the situation, or situations, it is embedded in. Take notes.
Make two passes in describing.
Describe from outside the rhetorical interaction. You're not the rhetor, and you're not the audience: Describe as an outside viewer, observing the interaction between rhetor and audience.
From this perspective, consider the situation and the rhetorical elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends. All three of these considerations work together.
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.
== A Few Guiding Questions ==
Use these questions to guide and extend your observations.
- Who are the rhetors - as far as you can tell? Who is the audience- as far as you can tell? What is the rhetorical situation that the artifact works in? What are the historical and cultural contexts for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- Consider the forum and genre. The forum is the place or point for medium where the rhetor and audience meet with the artifact. A web page, a student union, a book, a video game are all forums. So is a gallery or a space where a rhetorical object is place. The genre names a recurring type of artifact: a sonnet, memo, country music video, weather information website are all genres. So are vending machines, role playing games, bobble-heads. (see Longaker, pp 13 - 14)
- Consider how the rhetorical situation unfolds over time of reading or working with the artifact and how that unfolding is controlled - by the rhetor, the audience, or the situation.
- In some cases, there will be more than one rhetorical situation at work. An 18th century poem, for instance, presented in a 21st century web page means you have to specify and differentiate between two rhetorical situations.
In a second pass, consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
Look at
- the arrangement of the text, image, or object. In a text, this is the progression from section to section, para to para, sentence to sentence. In a magazine page or web page, it is the placement of chunks of text on the page and suggested or implied movement the audience is to make from chunk to chunk. For a painting or photo, it's the visual composition. For an object, it is the arrangement of the parts and the placement of objects in space.
- the //register// of the message: this includes the social and disciplinary domain or setting, the style of formal, informal, semi-formal, and the presence of the audience as //close// or intimate or more distant and impersonal. The Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements. Visual images have register, too.
- the layout on the page, screen, canvas, or space: 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
- anything else that comes to light as you observe ...
Observe, too, what's missing. What isn't in the artifact that could readily be.
Recall that rhetorical messages aren't always overtly persuasive, and that they aim to shape the way people think, act, feel, or believe.
Drawing on your notes of what you have observed, where would you place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
""no persuasion ----------------------- hello ----------------------------overt persuasion ""
==== Artifacts ====
- [[http://americandigest.org/texting19th-thumb.jpg | A 19th century secret message]]
- [[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//.
- National Weather Service [[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
- [[http://www.blakefallconroy.com/18.html | Minimum Wage Machine (Work in Progress)]], Blake Fall-Conroy.
- [[http://en.wikipedia.org/wiki/Bemidji,_Minnesota Wikipedia entry on Bemidji, MN]]
== retired artifacts - used in pass classes ==
[[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], as displayed on the Poetry Foundation website.
Google page for sunlamp. (Search //sunlamp// on Google and consider that page.)
Cover of pop song
[[http://www.youtube.com/watch?v=7sei-eEjy4g | Paper Planes]], sampling The Clash, [[http://www.youtube.com/watch?v=BQ3N1zfxTGQ | Straight to Hell]].
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]]
[[http://en.wikipedia.org/wiki/File:Illuminated.bible.arp.jpg Illuminated ms]]
[[http://www.flickr.com/photos/mcmorgan/2876518462/sizes/o/in/set-72157605994929304/ Skater at Play]]
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]: Image mashup. Sound.
[[http://www.bemidjistate.edu BSU Home page]]
[[http://www.youtube.com/watch?v=dTAAsCNK7RA | OK Go on treadmills]]
Saturday Fun Page, //Bemidji Pioneer//
[[http://www.grocerylists.org/lists/200/Pages/0125.shtml a grocery list]]
Deletions:
w>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}
==Start seeing rhetoric==
>>=====What Makes This Rhetorical? An exercise =====
- As an observer, I immediately see this is an image intended to refer to road signs.
- The situation is the road sign yellow and balck with the emphsis "seeing" in red
- Another clue is the font being large block letters which is the font often used for mortorcycles
- Punctuation and lowercase habits are not used in this case, another road sign implication
- The rhetor used these road sign clues for the marketing campaign because they are both clearly indicative of roadway situations
- The rhetorical end to this message is to STOP, PAY ATTENTION, SEE MOTORCYCLES
- The rhetors are marketers for a group intended to campaign against motorcycle injuries
- The audience would be all roadway members. There is not anyone, even motorcyclists, who is on the road and would not apply to the intended audience.
- The rhetorical situation that the artifact works in is the high danger levels that motorcyclists operate within but also the situational experience of roadway members that include working through prejudices that may exist against motorcyclists
- This is boiling down to the most simplistic message in an attempt to both get attention and to have the automatic followthrough that roadway signs demand and American drivers are trained to follow without thinking or arguing.
- This is clear both from the American experience as a driver and from the rhetorical messaging.
- The forum is a bumper sticker placed on the back of cars. This is important. Drivers of cars are messaging protection for motorcyclists.
- The forum in on the road, where car drivers will be passively given a message to pay attention to.
- The forum is a shared space where the audience is likely to see both car drivers and motorcyclists.
- The genre is bumper stickers. These make bold statements and are declaractions, not intended to be part of a conversation.
- The situation itself is changing over time, even within the space of the message board (the car) is on the road. At times there will be motorcyclists. At times there will only be cars. At times there will be motorcyclists displaying poor behavior and other times, cars will be. The rhetor declares that we have to see motorcyclists, no matter what. The audience is confronted with different situations and are asked to have the same response.
- This sign is almost never seen in any other locale but on the road. The sign is either on a car or a billboard. It is intended to be in the location that the message is needed immediately for.
Reflections
- This campaign was begun in 1976 and yet is one that has not changed messaging or branding. There remains no progession in the arrangement of the ideas because the idea is stable and timeless. Trends change due to economic factors, weather conditions, and popular culture but there is always, always this same messaging of attention to the vulnerable motorcyclist.
- The largest change has been the addition of a website.
- The roadsign visual parallels is intentional and arranged for impact on the reader. The sign is iconic, and can be recognized from a safe distance off.
- The social and disciplinary domain is to invoke that response in the reader. It is meant to claim the reader's attention and obedience to roadsigns.
- The setting is always the road. The style is always the authoritarian voice of the roadsign.
- The audience is always one that is subservient to the authority of the roadsign. There is no negotiation room in this space.
- The layout on the bumpersticker space is a rapid message and response message. Block font, delcaration, response. Always black and yellow, punctuated by red.
- Fatality rates and real human tragedies are not played with. There is no statistic. There is no graphic death scene. There is no cloying story. It is simple and pointed.
- What is missing is the rhetorical implication of conversation. It is not allowed. This is a rule to follow: START SEEING MOTORCYLCES. The consequence is to be operating outside the rules which every driver is trained to follow on roadway signs.
This rhetorical messages aims to shape the way people act, and behave. It is almost a call to not think, but to DO. As a result, this is overt persuasion. There is no subtlety. No thought required. It is a positive message to share the road, in awareness of motorcyclists presence. Unlike the motorcyclists invisibility, there is a high visibility connected to the message. It is so simple it doesn't even address speed or distraction, simply the action of awareness.
==== The Artifact ====
[[http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg Start Seeing Motorcycles bumper sticker]]


Revision [21207]

Edited on 2015-08-31 10:21:31 by MorganAdmin [Reverted to previous revision]
Additions:
==Start seeing rhetoric==


Revision [21174]

Edited on 2015-08-29 13:10:21 by Wanda [Reverted to previous revision]
Deletions:
==Start seeing rhetoric==


Revision [21173]

Edited on 2015-08-29 13:09:43 by Wanda [Reverted to previous revision]
Additions:
- As an observer, I immediately see this is an image intended to refer to road signs.
- The situation is the road sign yellow and balck with the emphsis "seeing" in red
- Another clue is the font being large block letters which is the font often used for mortorcycles
- Punctuation and lowercase habits are not used in this case, another road sign implication
- The rhetor used these road sign clues for the marketing campaign because they are both clearly indicative of roadway situations
- The rhetorical end to this message is to STOP, PAY ATTENTION, SEE MOTORCYCLES
- The rhetors are marketers for a group intended to campaign against motorcycle injuries
- The audience would be all roadway members. There is not anyone, even motorcyclists, who is on the road and would not apply to the intended audience.
- The rhetorical situation that the artifact works in is the high danger levels that motorcyclists operate within but also the situational experience of roadway members that include working through prejudices that may exist against motorcyclists
- This is boiling down to the most simplistic message in an attempt to both get attention and to have the automatic followthrough that roadway signs demand and American drivers are trained to follow without thinking or arguing.
- This is clear both from the American experience as a driver and from the rhetorical messaging.
- The forum is a bumper sticker placed on the back of cars. This is important. Drivers of cars are messaging protection for motorcyclists.
- The forum in on the road, where car drivers will be passively given a message to pay attention to.
- The forum is a shared space where the audience is likely to see both car drivers and motorcyclists.
- The genre is bumper stickers. These make bold statements and are declaractions, not intended to be part of a conversation.
- The situation itself is changing over time, even within the space of the message board (the car) is on the road. At times there will be motorcyclists. At times there will only be cars. At times there will be motorcyclists displaying poor behavior and other times, cars will be. The rhetor declares that we have to see motorcyclists, no matter what. The audience is confronted with different situations and are asked to have the same response.
- This sign is almost never seen in any other locale but on the road. The sign is either on a car or a billboard. It is intended to be in the location that the message is needed immediately for.
Reflections
- This campaign was begun in 1976 and yet is one that has not changed messaging or branding. There remains no progession in the arrangement of the ideas because the idea is stable and timeless. Trends change due to economic factors, weather conditions, and popular culture but there is always, always this same messaging of attention to the vulnerable motorcyclist.
- The largest change has been the addition of a website.
- The roadsign visual parallels is intentional and arranged for impact on the reader. The sign is iconic, and can be recognized from a safe distance off.
- The social and disciplinary domain is to invoke that response in the reader. It is meant to claim the reader's attention and obedience to roadsigns.
- The setting is always the road. The style is always the authoritarian voice of the roadsign.
- The audience is always one that is subservient to the authority of the roadsign. There is no negotiation room in this space.
- The layout on the bumpersticker space is a rapid message and response message. Block font, delcaration, response. Always black and yellow, punctuated by red.
- Fatality rates and real human tragedies are not played with. There is no statistic. There is no graphic death scene. There is no cloying story. It is simple and pointed.
- What is missing is the rhetorical implication of conversation. It is not allowed. This is a rule to follow: START SEEING MOTORCYLCES. The consequence is to be operating outside the rules which every driver is trained to follow on roadway signs.
This rhetorical messages aims to shape the way people act, and behave. It is almost a call to not think, but to DO. As a result, this is overt persuasion. There is no subtlety. No thought required. It is a positive message to share the road, in awareness of motorcyclists presence. Unlike the motorcyclists invisibility, there is a high visibility connected to the message. It is so simple it doesn't even address speed or distraction, simply the action of awareness.
==== The Artifact ====
Deletions:
Describe from outside the rhetorical interaction. You're not the rhetor, and you're not the audience: Describe as an outside viewer, observing the interaction between rhetor and audience.
From this perspective, consider the situation and the rhetorical elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends. All three of these considerations work together.
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.
== A Few Guiding Questions ==
Use these questions to guide and extend your observations.
- Who are the rhetors - as far as you can tell? Who is the audience- as far as you can tell? What is the rhetorical situation that the artifact works in? What are the historical and cultural contexts for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- Consider the forum and genre. The forum is the place or point for medium where the rhetor and audience meet with the artifact. A web page, a student union, a book, a video game are all forums. So is a gallery or a space where a rhetorical object is place. The genre names a recurring type of artifact: a sonnet, memo, country music video, weather information website are all genres. So are vending machines, role playing games, bobble-heads. (see Longaker, pp 13 - 14)
- Consider how the rhetorical situation unfolds over time of reading or working with the artifact and how that unfolding is controlled - by the rhetor, the audience, or the situation.
- In some cases, there will be more than one rhetorical situation at work. An 18th century poem, for instance, presented in a 21st century web page means you have to specify and differentiate between two rhetorical situations.
In a second pass, consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
Look at
- the arrangement of the text, image, or object. In a text, this is the progression from section to section, para to para, sentence to sentence. In a magazine page or web page, it is the placement of chunks of text on the page and suggested or implied movement the audience is to make from chunk to chunk. For a painting or photo, it's the visual composition. For an object, it is the arrangement of the parts and the placement of objects in space.
- the //register// of the message: this includes the social and disciplinary domain or setting, the style of formal, informal, semi-formal, and the presence of the audience as //close// or intimate or more distant and impersonal. The Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements. Visual images have register, too.
- the layout on the page, screen, canvas, or space: 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
- anything else that comes to light as you observe ...
Observe, too, what's missing. What isn't in the artifact that could readily be.
Recall that rhetorical messages aren't always overtly persuasive, and that they aim to shape the way people think, act, feel, or believe.
Drawing on your notes of what you have observed, where would you place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
""no persuasion ----------------------- hello ----------------------------overt persuasion ""
==== Artifacts ====


Revision [21172]

Edited on 2015-08-29 12:41:24 by Wanda [Reverted to previous revision]
Additions:
[[http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg Start Seeing Motorcycles bumper sticker]]
Deletions:
This exercise is //a trial run //at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.
Take at least an hour of close, studied work of observation and notes for this exercise. Two hours will yield even more. And three, even more.
If you're unsure how to proceed, don't worry. Take a breath and start taking notes. People learn to do this by actually doing it for a while, unsure at first, but gaining a sense of the task.
Contemporary rhetoricians take the perspective that any language artifact is rhetorical. A text or object might not be overtly persuasive, but it does influence attitudes, values, or beliefs. As in this definition from Stoner and Perkins:
Rhetoric: The art and science of creating and analyzing "messages that rely on verbal and nonverbal symbols that more or less intentionally influence social attitudes, values, beliefs, and actions." (Stoner and Perkins, 6).
For a message to be rhetorical, it must rely on symbols - natural language, typically, but the language of film, dance, spacial organization, and the like are all symbolic - but the rhetor need not intentionally or overtly attempt to influence. So, we can say that
Rhetorical messages aim to shape the way people think, act, feel, or believe.
To explore what this means, we'll look at a few artifacts that we don't often see as rhetorical.
==== How to proceed====
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the heading below into your page to get started.
You are going to be composing //notes// - observations, things to notice - not essays. You're not arguing a point or coming to any conclusions, so relax and observe.
Choose one of the artifacts below to work with. Copy and paste the link to the artifact into your page so you and I can refer to it. Keep the artifact open in a second browser window as you work. Attention to the actual artifact is important in this exercise.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and the situation, or situations, it is embedded in. Take notes.
Make two passes in describing.
- [[http://americandigest.org/texting19th-thumb.jpg | A 19th century secret message]]
- [[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//.
- National Weather Service [[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
- [[http://www.blakefallconroy.com/18.html | Minimum Wage Machine (Work in Progress)]], Blake Fall-Conroy.
- [[http://en.wikipedia.org/wiki/Bemidji,_Minnesota Wikipedia entry on Bemidji, MN]]
- [[http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg Start Seeing Motorcycles bumper sticker]]
== retired artifacts - used in pass classes ==
[[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], as displayed on the Poetry Foundation website.
Google page for sunlamp. (Search //sunlamp// on Google and consider that page.)
Cover of pop song
[[http://www.youtube.com/watch?v=7sei-eEjy4g | Paper Planes]], sampling The Clash, [[http://www.youtube.com/watch?v=BQ3N1zfxTGQ | Straight to Hell]].
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]]
[[http://en.wikipedia.org/wiki/File:Illuminated.bible.arp.jpg Illuminated ms]]
[[http://www.flickr.com/photos/mcmorgan/2876518462/sizes/o/in/set-72157605994929304/ Skater at Play]]
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]: Image mashup. Sound.
[[http://www.bemidjistate.edu BSU Home page]]
[[http://www.youtube.com/watch?v=dTAAsCNK7RA | OK Go on treadmills]]
Saturday Fun Page, //Bemidji Pioneer//
[[http://www.grocerylists.org/lists/200/Pages/0125.shtml a grocery list]]


Revision [21171]

Edited on 2015-08-29 12:38:34 by Wanda [WhatMakesThisRhetoricalwks]
Additions:
w>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}
Deletions:
>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}


Revision [21167]

Edited on 2015-08-28 08:27:54 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}
==Start seeing rhetoric==
>>=====What Makes This Rhetorical? An exercise =====
Deletions:
>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}>>=====What Makes This Rhetorical? An exercise =====


Revision [21166]

Edited on 2015-08-28 08:26:46 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg Start Seeing Motorcycles bumper sticker]]


Revision [21165]

Edited on 2015-08-28 08:25:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
>>{{image url="http://www.niu.edu/mcycle/images/homepage/start_seeing_motorcycles.jpg" width="376px"}}>>=====What Makes This Rhetorical? An exercise =====
Deletions:
=====What Makes This Rhetorical? An exercise =====


Revision [21156]

Edited on 2015-08-28 08:10:58 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
If you're unsure how to proceed, don't worry. Take a breath and start taking notes. People learn to do this by actually doing it for a while, unsure at first, but gaining a sense of the task.
- Consider the forum and genre. The forum is the place or point for medium where the rhetor and audience meet with the artifact. A web page, a student union, a book, a video game are all forums. So is a gallery or a space where a rhetorical object is place. The genre names a recurring type of artifact: a sonnet, memo, country music video, weather information website are all genres. So are vending machines, role playing games, bobble-heads. (see Longaker, pp 13 - 14)
- the arrangement of the text, image, or object. In a text, this is the progression from section to section, para to para, sentence to sentence. In a magazine page or web page, it is the placement of chunks of text on the page and suggested or implied movement the audience is to make from chunk to chunk. For a painting or photo, it's the visual composition. For an object, it is the arrangement of the parts and the placement of objects in space.
- the //register// of the message: this includes the social and disciplinary domain or setting, the style of formal, informal, semi-formal, and the presence of the audience as //close// or intimate or more distant and impersonal. The Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements. Visual images have register, too.
- the layout on the page, screen, canvas, or space: arrangement of visual elements such as text, navigation, images, use of color, images, and links ...
== retired artifacts - used in pass classes ==
Deletions:
- Consider the forum and genre. The forum is the place or point for medium where the rhetor and audience meet with the artifact. A web page, a student union, a book, a video game are all forums. The genre names a recurring type of artifact: a sonnet, memo, country music video, weather information website are all generes. (see Longaker, pp 13 - 14)
- the arrangement of the text: progression from section to section, para to para, sentence to sentence, or the placement of chunks of text on the page and suggested or implied movement the audience is to make from chunk to chunk.
- the //register// of the text: this includes the social and disciplinary domain or setting, the style of formal, informal, semi-formal, and the presence of the audience as //close// or intimate or more distant and impersonal. The Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements
- the layout of the page: arrangement of visual elements such as text, navigation, images, use of color, images, and links ...
== retired artifacts ==


Revision [21155]

Edited on 2015-08-28 08:03:15 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Take at least an hour of close, studied work of observation and notes for this exercise. Two hours will yield even more. And three, even more.
Deletions:
Take at least an hour of close, studied work of observation and notes for this exercise. Two hours will yield even more.


Revision [21154]

Edited on 2015-08-28 08:02:54 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
You are going to be composing //notes// - observations, things to notice - not essays. You're not arguing a point or coming to any conclusions, so relax and observe.
Deletions:
These are //notes// - observations, things to notice - not essays. You're not arguing a point or coming to any conclusions, so relax and observe.


Revision [21153]

Edited on 2015-08-28 08:02:00 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.blakefallconroy.com/18.html | Minimum Wage Machine (Work in Progress)]], Blake Fall-Conroy.
Deletions:
- [[http://www.blakefallconroy.com/18.html | Minimum Wage Machine (Work in Progress]], Blake Fall-Conroy.


Revision [21152]

Edited on 2015-08-28 08:01:40 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.blakefallconroy.com/18.html | Minimum Wage Machine (Work in Progress]], Blake Fall-Conroy.


Revision [21151]

Edited on 2015-08-28 07:57:49 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Choose one of the artifacts below to work with. Copy and paste the link to the artifact into your page so you and I can refer to it. Keep the artifact open in a second browser window as you work. Attention to the actual artifact is important in this exercise.
Deletions:
Choose on of the artifacts below to work with. Copy and paste the link to the artifact into your page so you and I can refer to it. Keep it open in a second browser window as you work. Attention to the actual artifact is important in this exercise.


Revision [21150]

Edited on 2015-08-28 07:57:17 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
==== First Pass ====
==== Second Pass ====
==== Consideration ====
Deletions:
=== First Pass ===
=== Second Pass ===
=== Consideration ===


Revision [21149]

Edited on 2015-08-28 07:56:43 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Take at least an hour of close, studied work of observation and notes for this exercise. Two hours will yield even more.
Contemporary rhetoricians take the perspective that any language artifact is rhetorical. A text or object might not be overtly persuasive, but it does influence attitudes, values, or beliefs. As in this definition from Stoner and Perkins:
Rhetoric: The art and science of creating and analyzing "messages that rely on verbal and nonverbal symbols that more or less intentionally influence social attitudes, values, beliefs, and actions." (Stoner and Perkins, 6).
For a message to be rhetorical, it must rely on symbols - natural language, typically, but the language of film, dance, spacial organization, and the like are all symbolic - but the rhetor need not intentionally or overtly attempt to influence. So, we can say that
Rhetorical messages aim to shape the way people think, act, feel, or believe.
To explore what this means, we'll look at a few artifacts that we don't often see as rhetorical.
Deletions:
Take at least an hour of close, studied work of observation and notes for this exercise.
Given that
Rhetorical messages aim to shape the way people think, act, feel, believe.
what makes the artifacts listed below rhetorical?


Revision [20997]

Edited on 2015-08-25 07:49:12 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
This exercise is //a trial run //at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.
Deletions:
This exercise is a trial run at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.


Revision [20996]

Edited on 2015-08-25 07:48:25 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Who are the rhetors - as far as you can tell? Who is the audience- as far as you can tell? What is the rhetorical situation that the artifact works in? What are the historical and cultural contexts for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- Consider the forum and genre. The forum is the place or point for medium where the rhetor and audience meet with the artifact. A web page, a student union, a book, a video game are all forums. The genre names a recurring type of artifact: a sonnet, memo, country music video, weather information website are all generes. (see Longaker, pp 13 - 14)
- Consider how the rhetorical situation unfolds over time of reading or working with the artifact and how that unfolding is controlled - by the rhetor, the audience, or the situation.
Deletions:
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact works in? What are the historical and cultural contexts for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- If you have //Rhetorical Analysis// text, consider the forum and genre (Longaker, pp 13 - 14)
- Consider how the rhetorical situation unfolds and how that unfolding is controlled - by the rhetor, the audience, or the situation.


Revision [20993]

Edited on 2015-08-25 07:26:40 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
This exercise is a trial run at working with exercises like this one, observing, taking notes, and considering an artifact from a rhetorical perspective. A //rhetorical artifact// is a text, a web page, an image, a tweet, a video, a audio file, a transcript of an audio file, a CD cover and on. You should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises. You don't need the //Rhetorical Analysis// text for this exercise but if you have it, read chapter 1 and chapter 2 to p 21.
Take at least an hour of close, studied work of observation and notes for this exercise.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and the situation, or situations, it is embedded in. Take notes.
Make two passes in describing.
- If you have //Rhetorical Analysis// text, consider the forum and genre (Longaker, pp 13 - 14)
- In some cases, there will be more than one rhetorical situation at work. An 18th century poem, for instance, presented in a 21st century web page means you have to specify and differentiate between two rhetorical situations.
In a second pass, consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- the arrangement of the text: progression from section to section, para to para, sentence to sentence, or the placement of chunks of text on the page and suggested or implied movement the audience is to make from chunk to chunk.
- the //register// of the text: this includes the social and disciplinary domain or setting, the style of formal, informal, semi-formal, and the presence of the audience as //close// or intimate or more distant and impersonal. The Wikipedia entry on [[http://en.wikipedia.org/wiki/Register_(sociolinguistics) | register]]. register in text chunks and interface elements
- the layout of the page: arrangement of visual elements such as text, navigation, images, use of color, images, and links ...
- anything else that comes to light as you observe ...
Observe, too, what's missing. What isn't in the artifact that could readily be.
Recall that rhetorical messages aren't always overtly persuasive, and that they aim to shape the way people think, act, feel, or believe.
Drawing on your notes of what you have observed, where would you place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
== retired artifacts ==
Deletions:
This exercise is a trial run at observing, taking notes, and considering something from a rhetorical perspective. You don't need the text, but you should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises.
You should take at least an hour of close, studied work of observation and notes for this exercise.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its rhetorical situation(s). Take notes.
Make two passes in describing:
- Consider the forum and genre (Longaker, pp 13 - 14)
- In some cases, there will be more than one rhetorical situation at work. An 18th century poem, for instance, presented in a 21st century web page.
In a second pass: Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- arrangement of the text: progression from section to section, para to para, sentence to sentence ... placement of chunks of text in the space and implied movement from chunk to chunk
- the 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 ...
- ...
Consider, too, what's missing: What isn't in the artifact that could readily be.
Recall that rhetorical messages aren't always overtly persuasive. They aim to shape the way people think, act, feel, believe. So, from what you have observed, where would you we place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
== retired ==


Revision [20992]

Edited on 2015-08-25 07:10:49 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, //as displayed on Project Bartleby site//.
Deletions:
{{image url="http://americandigest.org/texting19th-thumb.jpg"}}
- [[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, as displayed on Project Bartleby site.


Revision [20991]

Edited on 2015-08-25 07:09:49 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
{{image url="http://americandigest.org/texting19th-thumb.jpg"}}


Revision [20990]

Edited on 2015-08-25 07:09:08 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Choose on of the artifacts below to work with. Copy and paste the link to the artifact into your page so you and I can refer to it. Keep it open in a second browser window as you work. Attention to the actual artifact is important in this exercise.
Deletions:
Choose on of the artifacts below to work with. Copy and paste the


Revision [20989]

Edited on 2015-08-25 07:07:03 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Choose on of the artifacts below to work with. Copy and paste the


Revision [20988]

Edited on 2015-08-25 07:05:48 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], as displayed on the Poetry Foundation website.
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], as displayed on the Poetry Foundation website.


Revision [20987]

Edited on 2015-08-25 07:04:47 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
Double-click to edit this page and you can copy the


Revision [20986]

Edited on 2015-08-25 07:04:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the heading below into your page to get started.
Deletions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the


Revision [20985]

Edited on 2015-08-25 07:03:55 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.** You can copy and paste the
Deletions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes,** like this:


Revision [20984]

Edited on 2015-08-25 07:03:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
%%(language-ref)
=== First Pass ===
=== Consideration ===
%%
Deletions:
""=== First Pass ===
=== Consideration ===""


Revision [20983]

Edited on 2015-08-25 07:03:07 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
""=== First Pass ===
=== Consideration ===""
Deletions:
%%(l=== First Pass ===
=== Consideration ===)
%%


Revision [20982]

Edited on 2015-08-25 07:02:41 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
%%(l=== First Pass ===
=== Consideration ===)
%%
Double-click to edit this page and you can copy the
Deletions:
=== First Pass ===
=== Consideration ===


Revision [20981]

Edited on 2015-08-25 07:01:25 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
This exercise is a trial run at observing, taking notes, and considering something from a rhetorical perspective. You don't need the text, but you should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises.
You should take at least an hour of close, studied work of observation and notes for this exercise.
what makes the artifacts listed below rhetorical?
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes,** like this:
=== First Pass ===
=== Second Pass ===
=== Consideration ===
=== A Consideration ===
Deletions:
This exercise is a trial run at observing, taking notes, and considering something from a rhetorical perspective. You don't need the text, but you should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises
It should take you at least an hour of close, studied work of observation and notes.
what makes each of the artifacts listed below rhetorical?
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.**
=== Now consider ===


Revision [20980]

Edited on 2015-08-25 06:52:08 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
This exercise is a trial run at observing, taking notes, and considering something from a rhetorical perspective. You don't need the text, but you should review the CourseStatement to get a sense of the method I'm asking you to engage for this exercises
It should take you at least an hour of close, studied work of observation and notes.
what makes each of the artifacts listed below rhetorical?
Describe from outside the rhetorical interaction. You're not the rhetor, and you're not the audience: Describe as an outside viewer, observing the interaction between rhetor and audience.
- [[http://americandigest.org/texting19th-thumb.jpg | A 19th century secret message]]
Deletions:
what makes each of these artifacts rhetorical?
Take a critical stance - standing outside the rhetorical interaction.


Revision [20979]

Edited on 2015-08-25 06:38:03 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- National Weather Service [[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
== retired ==
Google page for sunlamp. (Search //sunlamp// on Google and consider that page.)
Deletions:
- [[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.)


Revision [20978]

Edited on 2015-08-25 06:36:04 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing. **Use headings to organize your notes.**
==== Describe ====
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its rhetorical situation(s). Take notes.
Make two passes in describing:
- In some cases, there will be more than one rhetorical situation at work. An 18th century poem, for instance, presented in a 21st century web page.
In a second pass: Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
=== Now consider ===
Recall that rhetorical messages aren't always overtly persuasive. They aim to shape the way people think, act, feel, believe. So, from what you have observed, where would you we place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]], as displayed on the Poetry Foundation website.
- Google page for sunlamp. (Search //sunlamp// on Google and consider that page.)
Deletions:
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing.
Use headings to organize your notes.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes. You'll need description to hang your analysis on.
In a second pass:Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
=== And finally ===
Where would you we place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]
- Google page for sunlamp. (Search sunlamp on Google and consider that page.)


Revision [20977]

Edited on 2015-08-25 06:26:42 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
=== And finally ===
Where would you we place the artifact on a continuum of The Rhetorical from //no persuasion// to //overt persuasion//, and why.
Deletions:
=== As an end ===
Where would you we place the artifact on a continuum of The Rhetorical from no persuasion to overt persuasion, and why.


Revision [20966]

Edited on 2015-08-24 07:59:17 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
==== How to proceed====
Use these questions to guide and extend your observations.
==== Artifacts ====
Deletions:
=== How to proceed===
Use these questions to guide your observation.
=== A Few Lead Questions ===
=== Artifacts ===


Revision [20965]

Edited on 2015-08-24 07:57:05 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- the 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
Deletions:
- 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


Revision [20964]

Edited on 2015-08-24 07:56:37 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
== A Few Guiding Questions ==
Use these questions to guide your observation.
Where would you we place the artifact on a continuum of The Rhetorical from no persuasion to overt persuasion, and why.
""no persuasion ----------------------- hello ----------------------------overt persuasion ""
=== A Few Lead Questions ===
Deletions:
Where would you we place the artifact on a continuum of The Rhetorical from
""no persuasion ---------------------------------------------------overt persuasion at the other""
no
A Few Lead Questions


Revision [20963]

Edited on 2015-08-24 07:54:27 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
""no persuasion ---------------------------------------------------overt persuasion at the other""
Deletions:
no persuasion ---------------------------------------------------overt persuasion at the other


Revision [20962]

Edited on 2015-08-24 07:53:58 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
no persuasion ---------------------------------------------------overt persuasion at the other
Deletions:
no persuasion ----------------------hello -----------------------------overt persuasion at the other


Revision [20961]

Edited on 2015-08-24 07:53:34 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
=== How to proceed===
Start a new page on the wiki titled WhatMakesThisRhetorical - followed by your initials. (WhatMakesThisRhetoricalMCM, for instance). Work with this exercise in that page, making notes that others can follow. Your notes don't have to be letter-perfect. You can use bullets or sentences or fragments. But get your thinking down on the screen so you can see what you're doing.
These are //notes// - observations, things to notice - not essays. You're not arguing a point or coming to any conclusions, so relax and observe.
Use headings to organize your notes.
To start, //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes. You'll need description to hang your analysis on.
=== First pass ===
Take a critical stance - standing outside the rhetorical interaction.
From this perspective, consider the situation and the rhetorical elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends. All three of these considerations work together.
=== Second pass ===
In a second pass:Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
=== As an end ===
Where would you we place the artifact on a continuum of The Rhetorical from
no persuasion ----------------------hello -----------------------------overt persuasion at the other
no
Deletions:
To start, pause for a minute or two to //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes. You'll need description to hang your analysis on.
First pass: Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends. All three of these considerations work together.
In a second pass: Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- Where would you we place the artifact on a continuum of The Rhetorical? (no persuasion at all | hello | overt persuasion)


Revision [13466]

Edited on 2013-08-27 06:53:35 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- arrangement of the text: progression from section to section, para to para, sentence to sentence ... placement of chunks of text 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
Deletions:
- arrangement of the text: progression from sentence to sentence, para to para, section to section...
- 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]].


Revision [13465]

Edited on 2013-08-27 06:51:13 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Consider, too, what's missing: What isn't in the artifact that could readily be.


Revision [13464]

Edited on 2013-08-27 06:50:05 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- 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]].
Deletions:
- register of the text (domain the text is from), 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]].


Revision [13463]

Edited on 2013-08-27 06:48:27 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- register of the text (domain the text is from), 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]].
Deletions:
- register of the text (domain the text is from), style of formal, informal, semi-formal, or close to the audience or more distant.


Revision [13460]

Edited on 2013-08-27 06:44:35 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
=====What Makes This Rhetorical? An exercise =====
Deletions:
=====What Makes This Rhetorical? =====


Revision [13459]

Edited on 2013-08-27 06:42:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- 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
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact works in? What are the historical and cultural contexts for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
Deletions:
- layout of the page
- any change, movement in the artifact, or interaction with
- use of color and shape and placement for //rhetorical// ends
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact addresses? What is the historical and cultural context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?


Revision [13458]

Edited on 2013-08-27 06:39:17 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
To start, pause for a minute or two to //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes. You'll need description to hang your analysis on.
First pass: Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends. All three of these considerations work together.
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.
In a second pass: Consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- any change, movement in the artifact, or interaction with
- selection of and placement of images
=== Artifacts ===
Deletions:
Start a new page (WhatMakeThisRheetoricalGroupX2011) on one of your wiki pages (everyone can link to it later) and take notes as you work with this exercise.
First, pause for a minute or two to //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes,
Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends.
In a second pass, consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- any change, movement in the artifact, or interaction with it
- selection of and use of images
First pass
- look at various print artifacts
Second pass


Revision [13453]

Edited on 2013-08-27 06:24:21 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Rhetorical messages aim to shape the way people think, act, feel, believe.
First, pause for a minute or two to //describe// the artifact. Use neutral language, move into detail, be methodical, and describe both the artifact and its context. Take some notes,
Deletions:
Rhetorical messages aim to shape the way people think, act, feel, and believe


Revision [13450]

Edited on 2013-08-27 06:16:50 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Rhetorical messages aim to shape the way people think, act, feel, and believe
Deletions:
Rhetorical messages aim to shape the way people think, act, feel, believe.


Revision [13447]

Edited on 2013-08-27 06:09:29 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:

Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. That is, identify the elements rhetors //can// use and //do// use to address rhetorical ends, consider what rhetorical ends they seem to be going for, and how they use the elements to meet the ends.
In a second pass, consider the more implicit, unstated ends: those elements and ends the rhetors may not consider rhetorical but that carry a persuasive end anyway.
- Consider how the rhetorical situation unfolds and how that unfolding is controlled - by the rhetor, the audience, or the situation.
- register of the text (domain the text is from), style of formal, informal, semi-formal, or close to the audience or more distant.
- layout of the page
- use of color and shape and placement for //rhetorical// ends
- look at various print artifacts
Deletions:
Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. 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.
- Consider how the rhetorical situation unfolds and how that unfolding is controlled by the rhetor, audience, or situation.
- style of the text: formal, informal, semi-formal ... close to the audience or more distant
- use of space and layout of the page
- use of color and shape and placement for rhetorical ends
various print artifacts


Revision [13446]

Edited on 2013-08-27 06:00:02 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
- [[http://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html E-Rhet Statement Comic]]


Revision [13445]

Edited on 2013-08-27 05:59:37 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Rhetorical messages aim to shape the way people think, act, feel, believe.
Deletions:
4. Rhetorical messages aim to shape the way people think, act, feel, believe.


Revision [13444]

Edited on 2013-08-26 18:02:12 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.poetryfoundation.org/poem/176858 | Oh mistress mine]]
Deletions:
- [[http://www.poetryfoundation.org/poem/176858 | Sweet and twenty]]


Revision [13443]

Edited on 2013-08-26 18:00:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.poetryfoundation.org/poem/176858 | Sweet and twenty]]


Revision [13442]

Edited on 2013-08-26 17:55:57 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.youtube.com/watch?v=dTAAsCNK7RA | OK Go on treadmills]]
Deletions:
[[http://www.youtube.com/watch?v=pv5zWaTEVkI OK Go on treadmills]]


Revision [13441]

Edited on 2013-08-26 17:52:52 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
[[ http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/ | LOLCeiling Cat Illuminated MS]]


Revision [13440]

Edited on 2013-08-26 17:52:00 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[ http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/ | LOLCeiling Cat Illuminated MS]]
Deletions:
[[ http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/ LOLCeiling Cat Illuminated MS]]


Revision [13439]

Edited on 2013-08-26 17:43:35 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.youtube.com/watch?v=7sei-eEjy4g | Paper Planes]], sampling The Clash, [[http://www.youtube.com/watch?v=BQ3N1zfxTGQ | Straight to Hell]].


Revision [13438]

Edited on 2013-08-26 17:29:54 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[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.
Deletions:
- [[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.


Revision [7406]

Edited on 2011-08-30 06:33:38 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- [[http://www.rice.edu/ Rice University Homepage]]
- [[http://www.kornea.com/kimages/Girl_with_pearl_earring.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://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html E-Rhet Statement Comic]]
- [[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]]
Deletions:
[[http://www.rice.edu/ Rice University Homepage]]
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.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://homepage.mac.com/mcmorgan/comiclife/e-rhet%20statement%202006/Comic.html E-Rhet Statement Comic]]
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
[[http://en.wikipedia.org/wiki/Bemidji,_Minnesota Wikipedia entry on Bemidji, MN]]


Revision [7404]

Edited on 2011-08-30 06:23:44 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Start a new page (WhatMakeThisRheetoricalGroupX2011) on one of your wiki pages (everyone can link to it later) and take notes as you work with this exercise.
Deletions:
Start a new page (WhatMakeThisRheetoricalGroupX) on one of your wiki pages (everyone can link to it later) and take notes as you work with this exercise.


Revision [7403]

Edited on 2011-08-30 06:20:24 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Start a new page (WhatMakeThisRheetoricalGroupX) on one of your wiki pages (everyone can link to it later) and take notes as you work with this exercise.
[[ http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/ LOLCeiling Cat Illuminated MS]]
[[http://en.wikipedia.org/wiki/File:Illuminated.bible.arp.jpg Illuminated ms]]
Deletions:
LOLCeling Cat Illuminated ms: http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/
Illuminated ms: http://en.wikipedia.org/wiki/File:Illuminated.bible.arp.jpg


Revision [7402]

Edited on 2011-08-30 06:18:06 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Given that
4. Rhetorical messages aim to shape the way people think, act, feel, believe.
what makes each of these artifacts rhetorical?
Take a critical stance - standing outside the rhetorical interaction - to consider the situation and the elements involved. 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.
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact addresses? What is the historical and cultural context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- Where would you we place the artifact on a continuum of The Rhetorical? (no persuasion at all | hello | overt persuasion)
Deletions:
Take a critical stance - standing outside the rhetorical interaction - 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. (affordances)
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact addresses? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
- Where would you we place the artifact on a continuum of The Rhetorical? (no persuasion at all | hello | overt persuasion|


Revision [7401]

Edited on 2011-08-30 06:11:46 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance Page]]
Deletions:
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance]] - top panel


Revision [7400]

Edited on 2011-08-30 06:11:09 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://en.wikipedia.org/wiki/Bemidji,_Minnesota Wikipedia entry on Bemidji, MN]]


Revision [7399]

Edited on 2011-08-30 06:09:28 by MorganAdmin [WhatMakesThisRhetoricalwks]

No Differences

Revision [7398]

Edited on 2011-08-30 06:03:12 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, as displayed on Project Bartleby site.
Deletions:
[[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, from Project Bartleby. Consider how the poem works as framed by the advertisements - or ignore those for the text alone.
[[CummingsSheBeing she being Brand ... ]]


Revision [7394]

Edited on 2011-08-30 05:54:30 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Consider the forum and genre (Longaker, pp 13 - 14)
- Consider how the rhetorical situation unfolds and how that unfolding is controlled by the rhetor, audience, or situation.
- Where would you we place the artifact on a continuum of The Rhetorical? (no persuasion at all | hello | overt persuasion|
- any change, movement in the artifact, or interaction with it
- selection of and use of images
- use of color and shape and placement for rhetorical ends
First pass
various print artifacts
Second pass
Deletions:
- Where might we place it on a continuum of The Rhetorical?
- selection of an use of images
- use of color and shape and placement: for aesthetic ends, for rhetorical ends (including informational ends)


Revision [7393]

Edited on 2011-08-30 05:41:35 by MorganAdmin [WhatMakesThisRhetoricalwks]
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]]
Deletions:
[[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 [7392]

Edited on 2011-08-30 05:40:38 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.


Revision [7391]

Edited on 2011-08-30 05:39:33 by MorganAdmin [WhatMakesThisRhetoricalwks]

No Differences

Revision [7118]

Edited on 2011-08-25 07:24:40 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
[[http://solo2.abac.com/themole/eveningstandard_3rd_july_2005.html page from the London Evening Standard]]


Revision [7117]

Edited on 2011-08-25 07:24:25 by MorganAdmin [WhatMakesThisRhetoricalwks]

No Differences

Revision [7110]

Edited on 2011-08-25 06:47:41 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
- Which of the [[FiveCharacteristicsAndADefinition five characteristics of rhetoric]] does each message exhibit?


Revision [7060]

Edited on 2011-08-23 08:00:22 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Which of the [[FiveCharacteristicsAndADefinition five characteristics of rhetoric]] does each message exhibit?
Deletions:
- Which of the five characteristics of rhetoric does each message exhibit?


Revision [7059]

Edited on 2011-08-23 07:55:50 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]: Image mashup. Sound.
Deletions:
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]
== A List ==
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]: Mashup. Sound.
[[http://www.ecanadanow.com/news/entertainment/lindsay-lohan-falls-off-the-wagon-20080129.html Lindsay Lohen news story, E-Canada]]
- compare image and text of [[http://www.msnbc.msn.com/id/22903608/ this account, from msnbc]]


Revision [7058]

Edited on 2011-08-23 07:53:38 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
=====What Makes This Rhetorical? =====
Deletions:
=====What Makes This Rhetorical=====


Revision [7057]

Edited on 2011-08-23 07:53:05 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Who are the rhetors? Who is the audience? What is the rhetorical situation that the artifact addresses? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
Look at
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.
Deletions:
Consider both the text and the medium, in light of the apparent aim of the message. Look at
[[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.
- Who are the rhetors? Who is the audience? The rhetorical situation that the artifact addresses? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?


Revision [7056]

Edited on 2011-08-23 07:49:57 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Take a critical stance - standing outside the rhetorical interaction - 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. (affordances)
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...
- 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://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]]
[[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.
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 [5168]

Edited on 2010-01-19 07:47:28 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Forecast at a Glance]] - top panel
Deletions:
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Weather at a Glance]]


Revision [5167]

Edited on 2010-01-19 07:46:55 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://forecast.weather.gov/MapClick.php?map.x=291&map.y=143&site=fgf&zmx=1&zmy=1 Weather at a Glance]]


Revision [5152]

Edited on 2010-01-19 05:34:24 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
CategoryExercise
Deletions:
CatagoryExercise


Revision [5151]

Edited on 2010-01-19 05:34:09 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
----
----
CatagoryExercise


Revision [5150]

Edited on 2010-01-19 05:31:45 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- compare image and text of [[http://www.msnbc.msn.com/id/22903608/ this account, from msnbc]]
Deletions:
- 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]]


Revision [5142]

Edited on 2010-01-19 04:55:23 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Who are the rhetors? Who is the audience? The rhetorical situation that the artifact addresses? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
Deletions:
- Who are the rhetors? Who is the audience? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?


Revision [5141]

Edited on 2010-01-19 04:54:11 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Who are the rhetors? Who is the audience? The context for which the artifact is designed? What seems to be the rhetorical purpose of the message? And how do you know?
Deletions:
- Who are the rhetors? Who is the audience? The context for which the artifact is designed? What seems to be the apparent purposes of the message? And how do you know?


Revision [5140]

Edited on 2010-01-19 04:53:48 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
- Who are the rhetors? Who is the audience? The context for which the artifact is designed? What seems to be the apparent purposes of the message? And how do you know?
Deletions:
- Who are the rhetors? Who is the audience? What seems to be the apparent purposes of the message? And how do you know?


Revision [5139]

Edited on 2010-01-19 04:38:40 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
LOLCeling Cat Illuminated ms: http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/
Illuminated ms: http://en.wikipedia.org/wiki/File:Illuminated.bible.arp.jpg
Deletions:
http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/


Revision [5138]

Edited on 2010-01-19 04:37:10 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
http://www.flickr.com/photos/30949808@N02/3307524113/sizes/o/in/set-72157614407337698/


Revision [5122]

Edited on 2010-01-18 10:41:05 by MorganAdmin [WhatMakesThisRhetoricalwks]

No Differences

Revision [5121]

Edited on 2010-01-18 10:40:08 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.bartleby.com/106/5.html The Passionate Shepherd to His Love]], Marlow, from Project Bartleby. Consider how the poem works as framed by the advertisements - or ignore those for the text alone.


Revision [5120]

Edited on 2010-01-18 10:34:32 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.flickr.com/photos/mcmorgan/2876518462/sizes/o/in/set-72157605994929304/ Skater at Play]]
Deletions:
[[http://www.flickr.com/photos/mcmorgan/2876518462/sizes/o/in/set-72157605994929304/ | Skater at Play]]


Revision [5119]

Edited on 2010-01-18 10:34:18 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.flickr.com/photos/mcmorgan/2876518462/sizes/o/in/set-72157605994929304/ | Skater at Play]]


Revision [5118]

Edited on 2010-01-18 10:29:44 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]: Mashup. Sound.
Deletions:
[[http://lohanfacial.ytmnd.com/ Lindsay Lohen Doesn't Change Facial Expression]]


Revision [5116]

Edited on 2010-01-18 10:24:08 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[CummingsSheBeing she being Brand ... ]]
Deletions:
[[CummingsSheBeing | she being Brand ... ]]


Revision [5115]

Edited on 2010-01-18 10:23:58 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[CummingsSheBeing | she being Brand ... ]]
Deletions:
she being Brand ... | CummingsSheBeing


Revision [5113]

Edited on 2010-01-18 10:22:54 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
she being Brand ... | CummingsSheBeing
Deletions:
[[she being Brand ... | CummingsSheBeing]]


Revision [5112]

Edited on 2010-01-18 10:22:31 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[she being Brand ... | CummingsSheBeing]]
Deletions:
[[she being Brand ... CummingsSheBeing]]


Revision [5111]

Edited on 2010-01-18 10:22:06 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.rice.edu/ Rice University Homepage]]
[[she being Brand ... CummingsSheBeing]]
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.
Deletions:
BSU Home page
[[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]]
Weblog page
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. If


Revision [5109]

Edited on 2010-01-18 10:14:36 by MorganAdmin [WhatMakesThisRhetoricalwks]
Deletions:
http://www.grocerylists.org/lists-101-200/


Revision [5107]

Edited on 2010-01-18 10:13:07 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
http://www.grocerylists.org/lists-101-200/


Revision [5105]

Edited on 2010-01-18 10:11:06 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
Weblog page
Deletions:
Weblog page [[http://www.yousaidhello.co.uk/blog/?p=68 Hullo posting]]


Revision [2805]

Edited on 2009-01-24 08:03:27 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660. If
Deletions:
[[http://www.kornea.com/kimages/Girl_with_pearl_earring.jpg Girl with a Pearl Earring]], Vermeer, 1660.


Revision [292]

Edited on 2008-01-31 09:46:13 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
[[http://www.grocerylists.org/lists/200/Pages/0125.shtml a grocery list]]
Deletions:
[[http://www.grocerylists.org/lists/100/Pages/0028.shtml a grocery list]]


Revision [291]

Edited on 2008-01-31 09:42:02 by MorganAdmin [WhatMakesThisRhetoricalwks]
Additions:
A Few Lead Questions
- Where might we place it on a continuum of The Rhetorical?
[[http://www.grocerylists.org/lists/100/Pages/0028.shtml a grocery list]]
Deletions:
A Couple of Lead Questions


Revision [290]

The oldest known version of this page was created on 2008-01-31 07:44:56 by MorganAdmin [WhatMakesThisRhetoricalwks]
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