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| discovering all possible means of persuasion |
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| Logical proof, which comes from the line of argument in a speech |
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| An incomplete version of a formal deductive syllogism that is created by leaving out a premise already accepted by the audience or by leaving an obvious conclusion unstated. |
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| Invention, arrangement, style, delivery and memory |
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| A speaker's hunt for arguments that will be effective in a particular speech |
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| you should avoid complicated schemes of organization, should capture attention. |
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| To learn easily is naturally pleasant to all people |
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| the use of mnemonics and practice practice practice |
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| The virtue of moderation; the virtuous person develops habits that avoid extremes. |
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| Truthful statements, self-disclosure, courage |
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| Brutal honesty, soul-baring, recklessness |
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| presenting the message with effective gestures and vocal modulation |
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| The common ground that exists between speaker and audience. |
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| perceived similarity between speaker and listener |
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| A tool to analyze how a speaker attempts to get an audience to accept his or her view of reality. |
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| Five key elements of human drama |
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| Act, scene, agent, agency, purpose |
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| The word a speaker uses to which all other positive words are subservient. |
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| The word a speaker uses that sums up all that is regarded as bad, wrong or evil. |
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| Burke's catchall term for tension, anxiety, embarrassment, shame, disgust and other noxious feelings with human condition. |
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| Confession of guilt and request for forgiveness |
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| Scapegoating; the process of naming an external enemy as the source of all personal or public ills. |
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| one of the most important founding figures in Western philosophy. |
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Aristotle's two types of rhetoric. Inartistic proofs are things which are there: facts, statistics, oaths, documents, contracts, constitutions and the like.
Artistic proofs are things which the speaker creates in the audience. Three artistic proofs: ethos, pathos and logos. Ethos is a personal proof, pathos is an emotional proof, logos is a logical proof. |
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| Man who founded dramatism, made the definition of a human being |
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| Definition of a human being |
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| i. symbol using (making, misusing) animal, ii. inventor of the negative (moralizes), iii. separated from natural condition by instruments of his own making. iv. goaded by the spirit of hierarchy (moved by order). v. rotten with perfection. |
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Act: What happened? What is the action? What is going on? What action; what thoughts?
Scene: Where is the act happening? What is the background situation?
Agent: Who is involved in the action? What are their roles?
Agency: How do the agents act? By what means do they act?
Purpose: Why do the agents act? What do they want? |
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| The foundation of dramatism is the concept of motive: the reasons why people do the things they do |
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| a theory proposed by Walter Fisher that all meaningful communication is a form of storytelling or giving a report of events (see narrative) and so human beings experience and comprehend life as a series of ongoing narratives |
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| introduced the narrative paradigm to communications theory. |
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| Narrative paradigm vs. rational world paradigm |
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Narrative: 1. Humans are essentially storytellers
2. Decisions that humans make are based off of “good reasons” rather than proofs
3. What we do and how we think is swayed by history, biography, culture, and character
4. Our rationality is determined by our sense of narrative probability (the coherency of the narrative) and narrative fidelity (whether the story rings true with what we already know to be true)
5. We are continually choosing the stories that we keep company with, and these stories are constantly changing |
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people are essentially thinking beings, basing their reasoned decisions on the merits of discussion and evidential reasoning;
what is judged rational is determined by the knowledge and understanding displayed, and by how the case is argued, i.e. the way in which the argument is made will determine the outcome so long as the form matches the forum which might be scientific, legal, philosophical, etc. This presupposes that life is a set of logical puzzles that can be solved through the application of rational methods. |
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| How do we relate to the story? |
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| how well a story hangs together. |
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| refers to the truthfulness of the story when compared to other life experiences |
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| academic field grounded in critical theory and literary criticism. |
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| one of the founding figures of[1] the school of thought that is now known as British Cultural Studies or The Birmingham School of Cultural Studies. |
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| the relationships of culture, power, and context— |
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| an economic and sociopolitical worldview and method of socioeconomic inquiry that centers upon a materialist interpretation of history, a dialectical view of social change, and an analysis and critique of the development of capitalism. |
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| a guiding principle which permits the peaceful coexistence of different interests, convictions and lifestyles |
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| a critic of a given culture, usually as a whole and typically on a radical basis. There is significant overlap with social and cultural theory. |
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| many of these theorists experienced that traditional Marxist theory could not adequately explain the turbulent and unexpected development of capitalist societies in the 20th century. Critical of both capitalism and Soviet socialism, their writings pointed to the possibility of an alternative path to social development |
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| How do we escape the power of the media? |
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| By making our own viewpoint. |
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| centers on the principles that technology puts profound influences on the society while technology remain control over virtually all walks of life |
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| Work viewed as cornerstone of media theory |
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| The medium is the message |
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| meaning that the form of a medium embeds itself in the message, creating a symbiotic relationship by which the medium influences how the message is perceived |
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| The eras that are defined and determine what media was popular. |
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| The first era, in ancient Greece when Aristotle did some of his many speeches. |
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| Founded when books started, still was mostly elitist |
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| Started when Gutenberg made the printing press, made writing cheaper |
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| Began in the 1920s when radio started and lasted through the next 70 years |
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| The era we are in now and in the future |
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| Don't be a tool of your tools |
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| a general communication theory that claims that people tend to treat computers and other media as if they were either real people or real places. |
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| The two people who founded the media equation theory |
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| How media uses social media. |
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| Objective confirmation of a counter-intuitive theory |
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| In addition to explaining certain counter-intuitive human behavior, the theory of cognitive dissonance has practical applications in several fields. |
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| the pertinent ideas and themes on television that hold relevance for viewers |
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| the common current thought of the majority. |
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Most people are just looking out for themselves.
You can't be too careful in dealing with people.
Most people would take advantage of you if they got the chance. |
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