Wednesday, June 22, 2016

Major Essay #2

Rhetorical Analysis
Your assignment is to critically examine an argument of your choice. This argument can be verbal, visual, aural or combination of the three. Write a rhetorical analysis that discusses how the argument works and evaluates its effectiveness. Consider some of the following questions when constructing your analysis, but please do not use these questions as an outline for your essay. These questions should help you generate ideas. It is possible that only a few of them will be applicable to your topic.
1. What point/claim was the argument making?
2.What was the MAIN point it argued?
3. Who was this main point targeting?
4.      What is the context (personal, historical, social, and cultural)of the argument?
5.      What emotions does it evoke from the audience groups?
6. Does the author have credivility to make these claims?
7.      What reasons and evidence supports the argument’s claims?
8.      What types of evidence are used (examples, analogies, facts, statistics, testimony)?
9.      How can you analyze this evidence?
10.      Are there any fallacies in the argument?
11.      If you are using a counter-argument to contrast the evidence this author uses, consider which makes a more convincing argument and why.
12.   Consider the best way to organize your essay: this assignment calls for description (of the argument), analysis and evaluation (analyze its effectiveness).

A successful rhetorical analysis will fulfill a number of goals:
  • Explain the structure of the argument (using the terms of rhetoric).
  • Analyze how the argument functions; this could include any fallacies within it.
  • Evaluate the effectiveness of the argument based on your analysis.
  • Immediately capture the interest of the audience with a catchy “lead.”
  • Use storytelling and/or descriptive language to create a vivid picture of a scene from your argument that is interesting to read.
  • Consider the entire class as your audience.
  • Demonstrate knowledge and understanding of organizational strategies.
  • Be around 1000 words and follow the document formatting rules outlined in the course syllabus.*
If you have additional questions about these requirements, please let me know.  I am here to help you succeed, so please use me as a resource.
* If you wish to include an image, it must be used in a way that explains the point you are making in the text.

Tuesday, June 21, 2016

Grammar: What a Pain

After our class discussion, did any weird word confusion get cleared up for you? Explain. Did our discussion raise any concerns that you realize you should watch out for in the future (confusing issues you became aware during our discussion)?

Monday, June 20, 2016

Short Essay #2

English 1010 Short Essay #2 Analyzing Rhetoric: Logical Focus Analyzing rhetoric has a long tradition, dating back to the ancient Greek philosophers. Aristotle considered how an argument (a piece of rhetoric) could appeal to its audience: logos, pathos, and ethos. You have picked a piece of rhetoric in the form of a bumper sticker. After briefly describing this argument in terms of its claims and its audiences, focus a discussion on its logical appeal. Think about these questions as you consider this argument’s logos appeals: • How does it use a logical claim? • In what ways does it have logical strengths— on any level does it make sense? • How does it fail logically—how does it fail to make sense? • How does it commit logical fallacies? Try to remain balanced in your analysis of its logic— you can certainly note if its logical appeal is persuasive or not, but try to stay unbiased and show both strengths and weaknesses (if both exist). Remember, don’t discuss all three appeals: JUST FOCUS ON THE LOGICAL APPEAL and discuss how this bumper sticker uses it in detail. Embedding an image of the piece of rhetoric being analyzed could be helpful for your discussion. This short essay should be in MLA format and be at least 200-250 words. Bring both an electronic and hard copy of this essay to our next class.

Rhetorical Analysis Readings

The study of rhetoric has a long tradition. In the readings over the weekend, you saw a number of different pieces of visual rhetoric-- many in the medium of a bumper sticker. Describe one of the pieces of rhetoric you recall from the readings using any of the vocabulary you recall.

Friday, June 17, 2016

Absolutes/Participials/Appositives

A participal is the –ing form (present participal) or –ed form (past participle) of a verb tagged onto the beginning or end of a sentence.  Both participals and participial phrases add more details to a sentence.  Using single participles creates rapid movement, while expanded phrases add details at a slower, but equally intense pace.  In Old Man and the Sea, Hemingway uses participial phrases to create tension and action in this excerpt:
Shifting the weight of the line to his left shoulder and kneeling carefully, he washed his hand in the ocean and held it there, submerged, for more than a minute, watching the blood trail away and the steady movement off the water against his hand as the boat moved. (56-57)
An equally powerful structure that also adds to the action of an image is the absolute.  An absolute is a two-word combination—a noun and a participal added onto a sentence (there can also be a prepositional phrase tagged to the absolute).  Instead of saying “The cat climbed the tree,” you can add two absolutes to give it detail: “Claws digging, feet kicking, the cat climbed the tree.” 
A third technique, the appositive, provides another option, often used to amplify still images.  An appositive is a noun that adds a second image to a preceding noun.  Like the absolute, the appositive expands details in the reader’s imagination.  For example, by adding a second image to the noun raccoon in the sentence “The raccoon enjoys eating turtle eggs,” the writer can enhance the first image with a new perspective.  “The raccoon, a scavenger, enjoys turtle eggs.”  To expand and add more vivid details, writers frequently expand the appositive to an appositive phrase: “The raccoon, a midnight scavenger who roams lake shorelines in search of food, enjoys eating turtle eggs.”
Using absolutes, participals, and appositives, a writer can zoom up on any part of a picture that is already framed by the original sentence by using commas. “The rhapis palm sat in a large, white container.” In this example, that means zooming up on either the palm or the container.  For instance, assume the branches of the palm are the detail of interest.  Without any word of transition, only a twist of a zoom lens represented by a comma, the sentence can now read:  “The rhapsis palm sat in a large, white container, the branches stretching into the air.”  The writer can place a comma after “air” and zoom in on something framed in this part of the sentence. This time the zoom can only be on the branches or air because the “camera” has focused on them, cutting the general description of the palm and container out of the picture.  Suppose there is nothing of interest about the air, but the branches have interesting joints or nodes.  Zooming in on those, the sentence would now read: “The rhapsis palm sat in a large, white container, the branches stretching into the air, fibrous joints knuckling the otherwise smooth surface.”

Response to student narrative



Which sections of the text were especially descriptive-- which scenes jump out at you?
Did you like the ending? why? Why not?
What sections might you suggest eliminating?
Did you notice any symbolism developed?

Thursday, June 16, 2016

narrative student example

Sally Student
Professor Whitington 
English 1010
September 7, 2015
                                                                                                                                                                                                                                           Broken Places
            It hadn’t been two weeks since we’d lost everything. Our home, our TV, my little sisters’ toys and all of our books, most of our clothes and our swing set.  We lost my father’s business too.  They came early in the morning with a truck. I sat on the sidewalk across the street and watched them haul it all away. Everything. Gone. We lost my mom and my sisters too. They left not long after the bank foreclosed, drove away with my aunt and a suitcase. Gone.
            We lost everything except each other. “You’re always stronger at the broken places,” he told me.
Daddy and I moved into a single-wide trailer, up on cement blocks. It listed to the left. “It’s like camping on a slope, that’s not so bad,” my dad said— and he was right. We settled in, my dad and I. He did odd jobs. I was a junior in high school and worked at the public library. We did ok, finding our rhythm—school, work, reading at night.  I propped myself on the couch with a book while daddy sat at the tiny table that was our dining room table, kitchen counter and desk.  Daddy was plotting his next attack.  Ever the optimist he said, “ask any successful business man how many failed businesses lie in his wake.  Well, I have one now.  You make some mistakes along the way. That’s how you learn.”
            My aunt called regularly once we had the phone installed.  “You can’t stay with that man.  You can’t! your mother needs you…” She was drunk whenever she called.  “Three sheets,” dad would say.  My aunt was drunk and mean, always had been.  I didn’t want to hear her diatribe against my father.  And besides, she wasn’t my mother.  My mother never called.
            At night, once I was in bed, I could see my father awake, smoking a cigarette, sitting at the tiny table.  I knew he was writing love letters to my mother, though we never talked about it.  Into each one he put whatever money he could.  He mailed them each morning. Like a prayer, I thought.  Every evening we would pick up the mail at the entrance to the trailer park. Each day my father opened our mailbox. We both silently waited for a letter, and each day was a disappointment.  As we walked back to the trailer one day, my father threw his arms over my shoulder.  “Don’t worry honey.  I’ll get her back. I know I will.”
            My father quit drinking after my mother left.  “I can’t afford beer and cigarettes,” he scoffed with a wink. I suspected my mother had committed to both habits with more vigor than ever.
            We hit our stride within a month or so.  He was running a car repair shop downtown, and my school was going well.  My father’s eternal optimism stirred in me a sense of adventure and hope.  “A clean slate— anything is possible sweetheart—with a clean slate.” I began to believe him.
            **********************************************************
I was at work, shelving books in the children’s book section of our small library, when I heard a familiar voice asking the librarian for me.  Ronny Martinez looked out of place in the library. At 6’5 he towered over me, but we probably weighed close to the same.  His hair, black and always a little greasy, hung to the middle of his back in a pony tail with a slight wave.   He looked like a teenager up to no good. He worked for my father as a mechanic.  Ronny lived, ate, and breathed automotive engines.  My father said that he was a mechanical genius.  My father’s stipulation for all of his employees was that they stayed in school no matter how meaningless it seemed to them.  Thanks to this policy Ronny would graduate at the end of the year.  Ronny was not used to talking to anyone. He was uncomfortable around anyone but gearheads.  He was agitated and looked frightened.  “Your dad’s in ICU.” I stood dumbfounded, staring at a smudge of black on his forehead.  “It took five of us… me and Gilbert and Carlos.. them two cops.. five of us to get him in the fucking ambulance.  Shit!  He’s in ICU.. you need to go to him.”
            I didn’t know what ICU was.  Daddy had to be OK, I thought, but I could feel our world bottoming out. Again.
It was then that I noticed Chris standing in the doorway.  She was an old woman, like Aunt Bee on Andy Griffith almost exactly.  She had been the town’s librarian forever.  I could see she had been frightened by Ronny and his obvious state.  “Is everythin’ OK, sweetheart?”
“Daddy’s in ICU.”
“Oh, Honey, no.” She came to me then.
Ronny sat in one of the child sized chairs and began to cry, his head in his hands, “IC fuckin’ U.  Shit.  He ain’t gonna make it.” I could see the flagpole through the big picture window.  I could hear the metal of the flag’s grommets as the bounced off the pole in the wind.  I could feel myself lowering into a small chair. I could feel the adventure turning badly.  All I could think was, clean slate, clean slate
Chris stroked my hair and calmly lowered my head to her lap. I began to cry for the first time since my mother had driven away. I cried as Chris asked Ronny to call someone who could drive, to tell them to come immediately and take me to the hospital.  It was obvious to Chris that neither Ronny nor I were able to drive and she had never learned how.
The hospital was easy to find.  I was the only one allowed in, being next of kin.  Ronny tried to convince them he was my brother to no avail.
The ICU floor was empty, dark, and cool. There were around a dozen beds, five of which were occupied.  Daddy was in the corner, a dim light behind him.  I was about to tgo to him when I was stopped by a nurse.  She was startled as I came into the light.  I knew she was expecting me, but I was obviously not what she expected.  I might have been 16, but even as tall as I was I still looked barely 14.  “Is your mother with you honey,” she was almost whispering.
“No. Just me.”
“Well, let’s go see Dr. Simon, he’s waiting to talk with you.”
I jerked my arm out of her gentle grasp. “No. I don’t need to talk to a doctor, I need  my daddy.” I went to him, as the nurse frantically tried to contact someone on the phone.
My father was surrounded by dozens of machines and he seemed to be hooked to each one by tubes or wires. The light was dim, but I could make out his blond hair, wild against the white of the pillow. As I came closer, I could see that he was held to the bed with white straps. It was then that I saw his face, white, skeletal almost.  His blue eyes were barely visible behind the drooping  lids.  I needed to catch my breath, to regroup.  I needed that clean slate that I had this morning. “Daddy.” He couldn’t hear me.
Chris’s voice came to  me from across the room—she was talking to the nurse, her wool coat buttoned to the top, her purse just so on her arm. 
“How did you…” I started to say.
“Oh, sweetheart, it’s OK. Grandma is here,” she said with a knowing look. I went to her. I went to her, my arms reaching around her slight frame.  I’d never loved anyone quite like this before. “So, Dr. Simon, my granddaughter needs to know what has happened.” Chris, the matronly model of morality, sat me down on a chair as she lied as naturally as breathing.
The doctor sat across from me. “Your father is critically ill and medically unstable.  We are closely monitoring him. He is in a life-threatening situation.  Earlier we did an emergency laparotomy.  He complicated matters by trying to pull his tubes and leave after the anesthesia wore off. We’re hoping for the best.” Hoping for the best. Hoping for the best is writing love letters to mom.  Hoping for the best is what we were doing this morning. “No,” I said, “I don’t believe that. I think you are planning for the worst.”
Dr. Simon stared at me, silent.  Chris said, “please. Tell us what the outlook is.  She needs to know.”
The doctor looked my way and then averted his eyes.  “We don’t expect him to make it through the night.”
“Thank you,” Chris whispered.  She shook hands with the doctor, and then led me to the corner where they had daddy tethered. She held me as I caught my breath.  He looked so small, so weak. Tears came freely. I could see him in the light, so dim, emanating from the machines, monitoring his hear, his lungs, his brain. You can’t monitor his chances.
I looked forever into my father’s face. His eyes were closed. He was so still. I put my hand on his.  His eyes fluttered open. It took him but a second to come to with a smile and wink. “Ahh honey, don’t cry now,” he said weakly. “Temporary setback is all.” His voice was so quiet, each word took great effort.  “Don’t listen to them honey.  These people in hospitals only look at half the truth.  The most important half is beyond their ken.”
“Daddy… daddy… don’t go.” I sobbed, kneeling at his bedside, my face in his hands still strapped to the bed.
“Honey, listen to me and listen carefully.” I rose a looked into my father’s eyes.  “I am going to walk out of here.  I’m going to get your mother back.  We will be together again.  I promise you that, we will be a family again.  I am not giving up and neither can you.” He winced as the pain worsened.  I couldn’t see beyond his physical condition.  His words, though strong, seemed the words of a dying man. “This heart monitor is faulty.  It’s missing some serious machinery.  You go back to that doctor, that young man, and tell him that his years in med school will be wasted on me.” His eyes were bright and blue against the pale of his skin.
“I need you to write the letter tonight.” He squeezed my hand with all his might.
I carefully laid my head on his chest. His fingers were in a fist and I saw his eyes clench tight.  The machines were surrounding us, the gauges measuring and calculating how much life, how much longer.  I could hear my father’s heart beating. I realized then that these machines were useless in measuring this man’s heart. My father clenched again in pain.  You’re always stronger at the broken places.