Logos, Ethos, Pathos, Kairos
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The Character of Huckleberry Finn
Forthcoming in Philosophy and Literature 2017 Gehrman The Character of Huckleberry Finn Kristina Gehrman University of Tennessee, Knoxville ABSTRACT: Mark Twain’s Huckleberry Finn is morally admirable because he follows his heart and does the right thing in a pinch. Or is he? The Character of Huckleberry Finn argues that the standard reading of Huck woefully misunderstands his literary and moral character. The real Huck is strikingly morally passive and thoroughly unreliable, and when the pinch comes, he fails Jim completely. His true character emerges when, with Iris Murdoch’s “justice and love”, we attend to Huck’s youth and his history of unmitigated abuse and neglect. Huck’s case reveals how (and how much) developmental and experiential history matter to moral character. I. Ever since Jonathan Bennett wrote about Huckleberry Finn’s conscience in 1974, Mark Twain’s young hero has played a small but noteworthy role in the moral philosophy and moral psychology literature. Following Bennett, philosophers read Huck as someone who consistently follows his heart and does the right thing in a pinch, firmly believing all the while that what he does is morally wrong.1 Specifically, according to this reading, Huck has racist beliefs that he never consciously questions; but in practice he consistently defies those beliefs to do the right thing in the context of his relationship with his Black companion, Jim. Because of this, Huck is morally admirable, but unusual. Perhaps he is an “inverse akratic,” as Nomy Arpaly and Timothy Schroeder have proposed; or perhaps, as Bennett argued, Huck’s oddness reveals the central and primary role of the sentiments (as opposed to principle) in moral action.2 But the standard philosophical reading of Huckleberry Finn seriously misunderstands his 1 Forthcoming in Philosophy and Literature 2017 Gehrman character (in both the moral/personal and the literary sense of the word), because it does not take into account the historically contingent, developmental nature of persons and their character traits. -
Does It Hold Water?
Does it Hold Water? Summary Investigate logical fallacies to see the flaws in arguments and learn to read between the lines and discern obscure and misleading statements from the truth. Workplace Readiness Skills Primary: Information Literacy Secondary: Critical Thinking and Problem Solving Secondary: Reading and Writing Secondary: Integrity Workplace Readiness Definition: Information Literacy • defining information literacy • locating and evaluating credible and relevant sources of information • using information effectively to accomplish work-related tasks. Vocabulary • Critical Thinking • Trustworthy • Aristotle, Plato, • Inductive Reasoning • Logic Socrates • Deductive Reasoning • Logical fallacy • Systems thinking • Cause-Effect • Process • Argument • Analysis • Propaganda • Rhetorical • Credible/non- • Infer vs. Imply credible Context Questions • How can information literacy set you apart from your peers or coworkers? • How can you demonstrate your ability with information literacy skills in a job interview? • How does information literacy and critical thinking interrelate? How do they differ? • How is good citizenship tied in with being a critical thinker? • How have you used information literacy skills in the past? • What are some common ways that information literacy skills are used in the workplace? • What news and information sources do you trust? What makes them trustworthy? • What is the difference between news shows and hard news? • Why is it important to be able to discern fact from opinion? • Why is it important to determine a credible from a non-credible source? • What are the characteristics of a credible/non-credible source? • What is a primary, secondary, and tertiary source? • What is a website domain, and what can it tell you about a site's potential credibility? Objective: To teach you how to determine whether media messages are factual and provable or whether those messages are misleading or somehow flawed. -
Conservatism and Pragmatism in Law, Politics and Ethics
TOWARDS PRAGMATIC CONSERVATISM: A REVIEW OF SETH VANNATTA’S CONSERVATISM AND PRAGMATISM IN LAW, POLITICS, AND ETHICS Allen Mendenhall* At some point all writers come across a book they wish they had written. Several such books line my bookcases; the latest of which is Seth Vannatta’s Conservativism and Pragmatism in Law, Politics, and Ethics.1 The two words conservatism and pragmatism circulate widely and with apparent ease, as if their import were immediately clear and uncontroversial. But if you press strangers for concise definitions, you will likely find that the signification of these words differs from person to person.2 Maybe it’s not just that people are unwilling to update their understanding of conservatism and pragmatism—maybe it’s that they cling passionately to their understanding (or misunderstanding), fearing that their operative paradigms and working notions of 20th century history and philosophy will collapse if conservatism and pragmatism differ from some developed expectation or ingrained supposition. I began to immerse myself in pragmatism in graduate school when I discovered that its central tenets aligned rather cleanly with those of Edmund Burke, David Hume, F. A. Hayek, Michael Oakeshott, and Russell Kirk, men widely considered to be on the right end of the political spectrum even if their ideas diverge in key areas.3 In fact, I came to believe that pragmatism reconciled these thinkers, that whatever their marked intellectual differences, these men believed certain things that could be synthesized and organized in terms of pragmatism.4 I reached this conclusion from the same premise adopted by Vannatta: “Conservatism and pragmatism[] . -
Create a Character: Acting & Language Arts with Caren Graham
Create A Character: Acting & Language Arts With Caren Graham ESSENTIAL QUESTIONS LEARNING TARGETS ● How do actors create a character? ● I can make creative choices with my voice and body ● How can characters I discover in other disciplines like to invent a variety of characters history, fairy tales, or literature come to life in ● I can create other forms of dramatic writing or drama? analyze a recording of myself performing MATERIALS NEEDED: Paper and Pencil DIGITAL SUPPORT RESOURCES: <link> INSTRUCTIONS 1. Choose a character from a favorite book. Examples: Harry Potter or Hermione Granger. 2. With pencil and paper write down 3 sentences to describe your chosen character. 3. Use descriptive words like tall, lanky, bent over. 4. Add personality traits like brave, scary, quick witted, confident. 5. Now use your imagination to create a character statue which is a frozen moment in time in a posed position. Start with your face. Try making a “brave” facial expression! a. Is there a moment in Harry Potter, when Harry or Hermione felt clever or brave? Write it down. b. Create that moment in a character statue and then come to life. c. Try to exaggerate (make bigger) a personality trait: for instance brave, and then switch to another feeling or trait like scared. 6. Now add a gesture (an expressive movement) to go with that character trait! a. Move your whole body with expression, posture and gesture. Try saying something in the manner your character might speak with the gesture. b. Acting like the character, did it feel better to be brave or scared? Why? 7. -
Television Satire and Discursive Integration in the Post-Stewart/Colbert Era
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 5-2017 On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era Amanda Kay Martin University of Tennessee, Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Journalism Studies Commons Recommended Citation Martin, Amanda Kay, "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/ Colbert Era. " Master's Thesis, University of Tennessee, 2017. https://trace.tennessee.edu/utk_gradthes/4759 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Amanda Kay Martin entitled "On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Science, with a major in Communication and Information. Barbara Kaye, Major Professor We have read this thesis and recommend its acceptance: Mark Harmon, Amber Roessner Accepted for the Council: Dixie L. Thompson Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) On with the Motley: Television Satire and Discursive Integration in the Post-Stewart/Colbert Era A Thesis Presented for the Master of Science Degree The University of Tennessee, Knoxville Amanda Kay Martin May 2017 Copyright © 2017 by Amanda Kay Martin All rights reserved. -
The Structure of Plays
n the previous chapters, you explored activities preparing you to inter- I pret and develop a role from a playwright’s script. You used imagina- tion, concentration, observation, sensory recall, and movement to become aware of your personal resources. You used vocal exercises to prepare your voice for creative vocal expression. Improvisation and characterization activities provided opportunities for you to explore simple character portrayal and plot development. All of these activities were preparatory techniques for acting. Now you are ready to bring a character from the written page to the stage. The Structure of Plays LESSON OBJECTIVES ◆ Understand the dramatic structure of a play. 1 ◆ Recognize several types of plays. ◆ Understand how a play is organized. Much of an actor’s time is spent working from materials written by playwrights. You have probably read plays in your language arts classes. Thus, you probably already know that a play is a story written in dia- s a class, play a short logue form to be acted out by actors before a live audience as if it were A game of charades. Use the titles of plays and musicals or real life. the names of famous actors. Other forms of literature, such as short stories and novels, are writ- ten in prose form and are not intended to be acted out. Poetry also dif- fers from plays in that poetry is arranged in lines and verses and is not written to be performed. ■■■■■■■■■■■■■■■■ These students are bringing literature to life in much the same way that Aristotle first described drama over 2,000 years ago. -
Impossible Grief:· Motivation and Intention in 1Macheth
IMPOSSIBLE GRIEF:· MOTIVATION AND INTENTION IN 1MACHETH KER WELLS A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE RE~UIREMENTS FOR THE DEGREE OF MASTER OF FINE ARTS GRADUATE PROGRAM IN THEATRE YORK UNIVERSITY, TORONTO, ONTARIO SEPTEMBER 2013 ©KER WELLS, 2013 ii Abstract This paper considers the issues of identification and motivation in Shakespeare's Macbeth. Proceeding from the proposal that the play allows for a remarkable level of audience identification for the characters of Macbeth and Lady Macbeth, considering their heinous acts, reasons for this level of identification are explored. Two events referred to in the text of Macbeth, but preceding the time of the play, are identified as potentially significant motivating factors in the couple's actions: Macbeth's recent experience of intense battle, and the couple's apparent past loss of a child. Supporting textual evidence is presented in addition to third party research into the effects of close combat and Post-Traumatic Stress Disorder, and the psychological effects on parents of losing a child. Various staging and design implications, opportunities, and ideas that result from these proposals are explored with direct reference to the author's production of Macbeth in Toronto's High Park. iii Dedicated to Marilyn Wells, to L.L.M, and to all the others who have taught me. iv TABLE OF CONTENTS Abstract ................................................................................. ii Introduction .......................................................................... -
Pathos & Ethos: Emotions and Willingness to Pay for Tobacco
Francesco Bogliacino, Cristiano Codagnone, Giuseppe Alessandro Veltri, Amitav Chakravarti, Pietro Ortoleva, George Gaskell, Andriy Ivchenko, Francisco Lupiáñez- Villanueva, Francesco Mureddu, Caroline Rudisill Pathos & ethos: emotions and willingness to pay for tobacco products Article (Published version) (Refereed) Original citation: Bogliacino, Francesco, Codagnone, Cristiano, Veltri, Giuseppe Alessandro, Chakravarti, Amitav, Ortoleva, Pietro, Gaskell, George, Ivchenko, Andriy, Lupiáñez-Villanueva, Francisco, Mureddu, Francesco and Rudisill, Caroline (2015) Pathos & ethos: emotions and willingness to pay for tobacco products. PLOS One, 10 (10). e0139542. ISSN 1932-6203 DOI: 10.1371/journal.pone.0139542 Reuse of this item is permitted through licensing under the Creative Commons: © 2015 The Authors CC-BY This version available at: http://eprints.lse.ac.uk/64127/ Available in LSE Research Online: November 2015 LSE has developed LSE Research Online so that users may access research output of the School. Copyright © and Moral Rights for the papers on this site are retained by the individual authors and/or other copyright owners. You may freely distribute the URL (http://eprints.lse.ac.uk) of the LSE Research Online website. RESEARCH ARTICLE Pathos & Ethos: Emotions and Willingness to Pay for Tobacco Products Francesco Bogliacino1☯*, Cristiano Codagnone2☯, Giuseppe Alessandro Veltri3☯, Amitav Chakravarti4,5‡, Pietro Ortoleva6‡, George Gaskell4, Andriy Ivchenko7, Francisco Lupiáñez-Villanueva8, Francesco Mureddu8,9, Caroline Rudisill4 1 Universidad -
Argument, Structure, and Credibility in Public Health Writing Donald Halstead Instructor and Director of Writing Programs Harvard TH Chan School of Public Heath
Argument, Structure, and Credibility in Public Health Writing Donald Halstead Instructor and Director of Writing Programs Harvard TH Chan School of Public Heath Some of the most important questions we face in public health include what policies we should follow, which programs and research should we fund, how and where we should intervene, and what our priorities should be in the face of overwhelming needs and scarce resources. These questions, like many others, are best decided on the basis of arguments, a word that has its roots in the Latin arguere, to make clear. Yet arguments themselves vary greatly in terms of their strength, accuracy, and validity. Furthermore, public health experts often disagree on matters of research, policy and practice, citing conflicting evidence and arriving at conflicting conclusions. As a result, critical readers, such as researchers, policymakers, journal editors and reviewers, approach arguments with considerable skepticism. After all, they are not going to change their programs, priorities, practices, research agendas or budgets without very solid evidence that it is necessary, feasible, and beneficial. This raises an important challenge for public health writers: How can you best make your case, in the face of so much conflicting evidence? To illustrate, let’s assume that you’ve been researching mother-to-child transmission (MTCT) of HIV in a sub-Saharan African country and have concluded that (claim) the country’s maternal programs for HIV counseling and infant nutrition should be integrated because (reasons) this would be more efficient in decreasing MTCT, improving child nutrition, and using scant resources efficiently. The evidence to back up your claim might consist of original research you have conducted that included program assessments and interviews with health workers in the field, your assessment of the other relevant research, the experiences of programs in other countries, and new WHO guidelines. -
Aristotelian Appeals: Logos, Ethos, and Pathos
Aristotelian Appeals: Logos, Ethos, and Pathos Whenever you read an argument you must ask yourself, “Is this persuasive? If so, why? And to whom?” There are many ways to appeal to an audience. Among them are appealing to logos, ethos, and pathos. These appeals are identifiable in almost all arguments. To Appeal to LOGOS To Develop or Appeal to ETHOS To Appeal to PATHOS (logic, reasoning) (character, ethics) (emotion) : the argument itself; the reasoning the : how an author builds credibility & : words or passages an author uses to activate author uses; logical evidence trustworthiness emotions Types of LOGOS Appeals Ways to Develop ETHOS Types of PATHOS Appeals Theories / scientific facts Author’s profession / Emotionally loaded language Indicated meanings or background Vivid descriptions reasons (because…) Author’s publication Emotional examples Literal or historical analogies Appearing sincere, fair minded, Anecdotes, testimonies, or narratives Definitions knowledgeable about emotional experiences or events Factual data & statistics Conceding to opposition where Figurative language Quotations appropriate Emotional tone (humor, sarcasm, Citations from experts & Morally / ethically likeable disappointment, excitement, etc.) authorities Appropriate language for Informed opinions audience and subject Examples (real life examples) Appropriate vocabulary Personal anecdotes Correct grammar Professional format Effect on Audience Effect on Audience Effect on Audience Evokes a cognitive, rational response. Helps reader -
A Genre Is a Conventional Response to a Rhetorical Situation That Occurs Fairly Often
What is a genre? A genre is a conventional response to a rhetorical situation that occurs fairly often. Conventional does not necessarily mean boring. Instead, it means a recognizable pattern for providing specific kinds of information for an identifiable audience demanded by circumstances that come up again and again. For example, new movies open almost every week. Movie makers pay for advertising to entice viewers to see their movies. Genres have a purpose. While consumers may learn about a movie from the ads, they know they are getting a sales pitch with that information, so they look for an outside source of information before they spend their money. Movie reviews provide viewers with enough information about the content and quality of a film to help them make a decision, without ruining it for them by giving away the ending. Movie reviews are the conventional response to the rhetorical situation of a new film opening. Genres have a pattern. The movie review is conventional because it follows certain conventions, or recognized and accepted ways of giving readers information. This is called a move pattern. Here are the moves associated with that genre: 1. Name of the movie, director, leading actors, Sometimes, the opening also includes the names of people and companies associated with the film if that information seems important to the reader: screenwriter, animators, special effects, or other important aspects of the film. This information is always included in the opening lines or at the top of the review. 2. Graphic design elements---usually, movie reviews include some kind of art or graphic taken from the film itself to call attention to the review and draw readers into it. -
Rhetoric and Kairos: Essays in History,Theory, and Praxis
Rhetoric and Kairos Essays in History,Theory, and Praxis phillip sipiora and james s. baumlin editors state university of new york press Published by State University of New York Press, Albany © 2002 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, elec- trostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, address State University of New York Press, 90 State Street, Suite 700, Albany, NY 12207 Production by Michael Haggett Marketing by Patrick Durocher Library of Congress Cataloging-in-Publication Data Rhet0ric and kairos : essays in history, theory, and praxis / Phillip Sipiora and James S. Baumlin, editors. p. cm. Includes bibliographical references. isbn 0 –7914–5233–6 (alk. paper)—isbn 0 –7914–5234–4 (pbk. : alk. paper) 1. Rhetoric. 2. Rhetoric, Ancient. 3. Kairo (The Greek word) I. Sipiora, Phillip. II. Baumlin, James S. pn218.r49 2002 808'.00938—dc21 2001049284 10987654321 Contents Acknowledgments ix Foreword carolyn r. miller xi Introduction: The Ancient Concept of Kairos phillip sipiora 1 A New Chapter in the History of Rhetoric and Sophistry augusto rostagni translated by phillip sipiora 23 Time and Qualitative Time john e. smith 46 Kairos in Classical and Modern Rhetorical Theory james l. kinneavy 58 Inventional Constraints on the Technographers of Ancient Athens: A Study of Kairos richard leo enos 77 Kairos in Gorgias’ Rhetorical Compositions john poulakos 89 Hippocrates, Kairos, and Writing in the Sciences catherine r.