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| What is the purpose of a memorial ceremony? |
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| to honor those the memorial represents |
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| In regards to orientations, this is an object of worship: |
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| speeches at a rally or protest are: |
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| An audience that physically exists together at a particular place and time: |
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| Which speech allows 2 or more speakers? |
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| What is the most important component of public speaking? |
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| the use of emotional appeals to persuade an audience by putting it in a certain frame of mind that makes it more willing to act in one way instead of another |
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| an emotional judgement that we make about things even when we do not have clear logical reasoning for doing so |
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| represents how we stand in relationship to a thing |
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| represents how strongly emotion is felt within a particular situation |
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| time bound situations that have a beginning and an end |
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| both individuals and groups |
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| conscious behavioral choices made by people |
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| is to use the power of an ideal to reveal the limitations of ones actual situation and inspire hope that future 'perfect' events will occur |
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| portrays a horrific event that repels an audience from current or future social conditions |
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| attracts us to certain concrete actions by investing them with moral and practical value |
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| a strategy which repels is from certain concrete actions by making them morally offensive and practically harmful |
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| portrays particular individuals or groups in a positive light in order to make them role models for other people to follow |
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| a person or a group is portrayed in a negative light in order to make them repellent to an audience |
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| the attempt to invest an object with such attractive qualities that an audience seeks to possess or preserve them |
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| the attempt to make an object seem so repellent that an audience ignores, shuns, discards, or destroys it |
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| the sense of qualitative unity that comes about when one arranges events and objects with reference to the demands of complete and unified perception |
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| feeling that one can sum up that entire arc of experience within a single term |
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| is present when all of a speech's parts form together into a concrete whole in such a way that is fitting with the occasion and which carries an audience from expectation to fulfillment during the course of delivery |
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| 'minor forms' that possess through 'episodic distinctness to bear consideration apart from their context' |
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| present when an audience possesses a categorical expectancy of what they are going to hear based on the traditional conventions of a speech genre |
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| the form of a perfectly conducted argument, advancing step by step. |
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| restatement of the same thing in different was in order to consistently represent a principle under new guises |
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| the presence of one quality prepares us for the introduction of another that is emotionally satisfying |
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| anything whose meaning encompasses more than its literal existence |
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| a powerful narrative vision of complex process that ordinarily extends over a long period |
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| an inclusive image that condenses the process of a myth into a visual form |
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| engages an audience with its sheer value as a work of creative invention |
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| makes order out of disorder |
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| acts to establish a relationship between the audience and that danger which it has ignored, usually by giving the audience a feeling of power it had not previously experienced |
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| offers a vision of possibility that helps correct the imbalances of the present |
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| allows people to express powerful emotions that the would have otherwise suppressed |
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| has the unique power to invert our moral codes, thus making the better into the worse and the worse into the better |
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| stresses its own peculiar way of building the mental equipment by which one handles the significant factors of his time |
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| in which one reacts to the challenges and necessities of a primitive existence by celebrating a warlike hero whose actions allow even humble peasants to endure harsh conditions |
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| urges citizens to engage in a struggle to better some part of their environment. |
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| brings about a burst of laughter through the momentary violation of expectations and the absurd juxtaposition of incongruous things |
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| a didactic speaker has the ethos of the educator who wishes to draw on the resources of reason, narrative, and emotion to enlighten audience |
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| fitting transition from the poetic categories that emphasize acceptance to those that focus on rejection |
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| one uses the language of absurdity to ridicule and belittle ones opponents |
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| a more sympathetic form of caricature whose purpose is not to ridicule but to cause laughter |
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| the combination of clashing characteristics in the same object that produces discomfort rather than laughter |
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| the use of rational arguments and evidence to persuade an audience of the reasonableness of ones position |
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| the use of inferences and proofs to establish relationships among propositions which warrant specific conclusions |
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| the primary position or conclusion being advanced by a speaker |
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| the supporting evidence for the claim |
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| the inferential leap that connects the claim with the ground, usually embodied in a principle, provision, or chain or reasoning |
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| a reason used to justify the warrant |
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| acknowledges the conditions where the claim might not hold |
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| admits to the degree of certainty or confidence that the speaker has in the claim. |
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| warrants drawing a general conclusion about a class of people, events, objects, or processes based on specific examples drawn from experience |
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| warrants the comparison of two things that might not otherwise go together for the purposes of drawing a conclusion based on their sharing vital similarity |
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