1. Contemporary Rhetoric
Reading and Writing in the 21st century

2. The Rhetorical BASICS
Audience: For Whom is this piece being written? Why?
Purpose: Why is this being written? Why?
Subject: About What is this being written? Why?
Context: What is the situation surrounding the writing?
Aim: To what end is this being written?

3. David Jolliffe’s Rhetorical Framework Diagram
The Rhetorical Situation
Exigence: What were the circumstances surrounding the original delivery and/or publication of the piece? What was the imperative for writing the piece?
Audience: For whom was the piece written?
Purpose: Why did the author write the speech/work?

4. David Jolliffe’s Rhetorical Framework Diagram
The Three Appeals:
Logos: The logical arrangement of the piece
Does the argument make sense?
Ethos: The credibility the author has. Is the author credible or ethical enough to be reliable about the subject?
Is the author believable?
Pathos: The emotion the writer tries to elicit from the audience. How does the speaker try to make you empathize with the piece?
What does the piece make you feel?

5. David Jolliffe’s Rhetorical Framework Diagram
Organization/Structure/Form
Fiction or nonfiction?
Poetry or prose?
Spoken or written?
The possibilities are endless, but each one means something different for how you should read or write.

6. David Jolliffe’s Rhetorical Framework Diagram
Surface Features
Diction: Word Choice
Why does the writer choose specific words?
Syntax: Sentence Structure
What does the sentence structure reveal about what the writer thinks/wants to emphasize?

7. David Jolliffe’s Rhetorical Framework Diagram
Surface Features (Continued):
Imagery: Language that appeals to the five senses
What sensation is the writer exploiting?
Figurative Language
Metaphor
Simile
Personification
(Synecdoche)
(Metonymy)

8. Pair Share TIME Turn to a partner
Tell that person 2-3 things you did not know before we went through this presentation thus far
Tell that person two questions you have about what we just learned
Use a post-it to post any questions you still have about the lesson so far

9. “If you cannot write well, you cannot think well; and if you cannot think well, others will do your thinking for you.”
–George Orwell
Rhetorical Modes

10. Reading/writing/thinking Connections and the Traditional Rhetorical Modes
Descriptive Writing
Tells how something looks, feels, sounds, smells, or tastes
Narrative Writing
Tells a story.
Shows or tells “what happened”
Focuses on events, actions, adventures, and the narrator’s response

11. Reading/writing/thinking Connections and the Traditional Rhetorical Modes
Expository Writing
Problem-Solution
Example
Comparing and contrasting
Definition
Cause and Effect
Classificatory

12. Reading/writing/thinking Connections and the Traditional Rhetorical Modes
Argument:
Seeks agreement, advises, or moves the reader to take some action.
To some degree, all writing is argument because the writer always tries to persuade or convince readers that they should listen to the writer.

13. “How do I know what I think until I see what I say?”
–E.M. Forster
Essay Warning Signs

14. Five kinds of LEADS to avoid
The Place Holder Introduction – “I am the Presenident of … and I believe that…”
The Restated Question Introduction – “Yes, I believe that people work better when they are empowered.”
The Dictionary Introduction – “Empowerment can be defined as…”
The Dawn of Man Introduction – “I a world ruled by darkness and oppression…”
The Unrelated, Cliché, or Overused Quotation Introduction – “I believe quality is better than quantity.”

15. How to read the “Warning Signs”
Paper is too Short:
Focus is usually too broad, creating vague, superficial discussions of the topic. Narrow the topic and the claim so that you can dig into the specifics and discover the complexities.
General rule: the narrower your focus, ironically, the more you will have to say (because you have to deal with specifics).
Paragraphs tend to be too Short:
Your idea is not developed. An idea or claim was most likely introduced, but evidence and warranting for it are probably missing. Explain fully how you developed your idea. Use specifics, details, illustrations, and examples.
Bottom Line: Explain Your Thinking

16. How to Read the “Warning Signs”
Paragraphs tend to be very long (over a page):
This is usually a sign of disorganization and too many ideas in one paragraph.
Separate out the important ideas and give them each a paragraph to develop; give them space for evidence and warranting that they deserve.
Several paragraphs end with quotations:
Shows a general tendency to use sources simply as “back-up.” Quotations are being used to end a conversation rather than the more analytical choice of beginning a conversation.
When quotations end paragraphs, it usually means that the writer is expecting the evidence to speak for itself (which it rarely does).

17. How to Read the “Warning Signs”
Lots of long block quotations in the body of the essay:
Shows a general tendency that the writer is not in control of the source being used. Quotations begin to take over the paper and the writer is often not explaining why the quotations are there, what they mean, and how they connect to the writer’s ideas.
No quotations or paraphrasing:
Essay does not integrate sources or has not acknowledged the sources being integrated. Does the assignment ask for integration of sources? If yes, then matter needs to be attended to. Check the purpose of the assignment. If sources have been integrated but not documented, the writer has committed plagiarism, which is a serious academic offense. All sources need citation.

18. How to Read the “Warning Signs”
All paraphrase but no quoting:
Sources are integrated but only in paraphrase form. In this case, there is a tendency for the use of sources to be vague and general; the writer is probably skimming the surface of critical arguments rather than digging into the complexities. Determine what key points need actual direct quotation reference.
Extensive use of “I think…,” “It seems…,” “This might indicate…”
This usually reflects a tendency towards indecision. It’s fine to qualify your ideas but if the essay is constantly waffling and hesitating, then you’re probably chickening out of saying what you really want to say.

19. Summary Time – 3-2-1 Bridge
Turn to a partner
Tell that person three things you did not know before we went through this presentation thus far
Tell that person two questions you have about what we just learned
Make one analogy for the new material you just learned
__________ is to __________ as __________ is to __________.
EX: Monkeys are to Bananas as Horses are to Hay.

20. When people read rhetorically… when they engage in rhetorical analysis, they not only react to the message, but they appreciate how the producer of that message is conveying the message to a particular audience too, whether that intended audience includes the analyst or not.
--Jack Selzer
Rhetorical Analysis

21. 5 Points on Rhetoric
Reading and writing analytically are not rocket science.
Examine any text.
Determine both:
Meanings, purpose, and effects
How the parts work together to achieve the meanings, purpose, and effects

22. 5 Points on Rhetoric
All textual analysis is ultimately rhetorical analysis.

23. 5 Points on Rhetoric
Reading and writing analytically are important scholastic & real-world skills that have been at the center of learning & knowing for 2500 years:
Rhetoric is discovery.
It is the power behind reading, writing, speaking, and criticism

24. 5 Points on Rhetoric
A good grasp of rhetoric makes “good citizen”; a good citizen is an “informed citizen.”

25. 5 Point on Rhetoric
Analytical reading is something thoughtful people do every day.

26. Some Questions Is the diction formal or informal?
Does the writer use I or you or we?
Are there any contractions?
Does the text use any specialized jargon?
Are the sentences long, short, varied, periodic, loose, standard subject-verb-object or subject-verb-complement?

27. Some Questions Are they primarily in active voice?
If there are any passive voice sentences, how do they function?
Are there any visual, aural, tactile, gustatory, or olfactory images?
Are there any schemes?
What do the schemes do—add, omit, provide parallel balance, provide antithetical balance?

28. Some Questions Are there any tropes?
What are the principal metaphors being used?
How are comparisons and contrasts brought about by tropes other than metaphor?
Can we detect irony or sarcasm?

29. The Big Question
So what? So what do the diction, syntax, imagery, and figurative language, mediated through the organization of the whole text, do to the establishment of logos, ethos, pathos, and/or tone?

30. Basic Questions for Rhetorical Analysis
What is the rhetorical situation?
Who is the author/speaker?
What is his/her intention in speaking?
Who makes up the audience?
What is the content of the message?
What is the form in which it is conveyed?
How do form and content correspond?
Does the message/speech/text succeed in fulfilling the author’s or speaker’s intentions?
What does the nature of the communication reveal about the culture that produced it?

31. Summary Time – 3-2-1 Bridge
Turn to a partner
Tell that person three things you did not know before we went through this presentation thus far
Tell that person two questions you have about what we just learned
Make one analogy for the new material you just learned
__________ is to __________ as __________ is to __________.
EX: Monkeys are to Bananas as Horses are to Hay.

32. TONE The quietness of his tone italicized the malice of his reply.
-Truman Capote
TONE

33. Describing Tone When describing tone, be as specific as possible.
Words with specific meanings help make your explanation more clear:
Disdainful is better than bad
Indignant instead of sad
Lugubrious instead of dark
Effusive instead of happy

34. Tone Words Admiring Clinical Detached Haughty Learned Passive
Sentimental
Agitated
Colloquial
Determined
Hopeful
Lighthearted
Patronizing
Snooty
Angry
Compassionate
Didactic
Humble
Lugubrious
Pedantic
Solemn
Annoyed
Complimentary
Diffident
Impartial
Manipulative
Persuasive
Somber
Apathetic
Concerned
Disdainful
Incisive
Melancholic
Petty
Soothing
Apologetic
Condescending
Disgusted
Indignant
Miserable
Pretentious
Sympathetic
Apprehensive
Confident
Dramatic
Inflammatory
Mock-Heroic
Respectful
Taunting
Authoritative
Consoling
Ecstatic
Informative
Mock-Serious
Restrained
Turgid
Bantering
Contemptuous
Effusive
Inquisitive
Mocking
Romantic
Urbane
Benevolent
Contentious
Elegiac
Insipid
Moralistic
Sarcastic
Urgent
Biting
Contradictory
Facetious
Insolent
Mournful
Sardonic
Vibrant
Brash
Cynical
Factual
Instructive
Neutral
Satiric
Whimsical
Candid
Dejected
Fanciful
Ironic
Nostalgic
Scholarly
Wistful
Cheery
Desperate
Flippant
Irreverent
Objective
Scornful
Worshipful