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| A form of type of message that is used in certain contexts |
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| A speech that challenges/attacks the status quo through satire or parody |
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| A speech given at a funeral to honor the deceased |
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| A speech that defends one's character after attack |
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| How we use language in order to know the world around us, work with others, and, eventually communicate to ourselves |
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| Creates systems of meaning in which some words represent our values and goals, while others signify things we hate |
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| Burke's five-part method of analysis used to discover the motives of speakers |
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Description of what occurred. Names what took place in thought or deed
-part of Pentad |
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The actor; who or what caused an act to happen indicates what person, or kind of person, performed the act
-Part of Pentad |
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How something was done or occurred. Establishes which instruments the agent used in the act
-Part of Pentad |
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Setting in which rhetorical action occurred. (Can be physical, temporal, or metaphorical). Names the background of the act and/or the situation in which it occurred. (Where & When?)
- Part of Pentad |
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| Symbolic Convergence Theory |
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| Assumes that communication creates reality and that individuals' meaning for symbols can converge, thereby creating a shared reality |
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| Comments about people or events not physically present in the group. (Shared realities) |
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| An interpretation of events shared by people that fulfills some rhetorical or phychological need |
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| The process by which more and more people come to share fantasy themes (And so on, and so on...) |
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| A combination of fantasy themes that have chained out and hung together to form a large-scale drama that, in turn, offers people a broad view of things |
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| Narrative, or storytelling, is the form of all human communication, including rhetoric and persuasion |
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| Any communication event that has a beginning, middle, and end, and characters |
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| The criteria by which we determine if a story has merit or worth |
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| Narrative Coherence (probability) |
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| Our tendency to evaluate a narrative as a story (structure, characters, details) |
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| The porcess of evaluating the truthfulness of the story -- Does the story ring true in the mind of the receiver? |
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| The meaning process of individuals in a society, as influence by their class positions |
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| Stock sets of (sexist, racist, etc.) ideas and assumptions about the world that people hold true |
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| Influence, leverage, or capital that one group has over another, either through control of politcal or economic resources, or by being situated in the dominant ideological positions and sharing in the privileged cultural myth |
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| Tendency of the West, namely philosophy, to think of discourse as having some preexisting meaning |
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| The process by which we come to an understanding of meaning, more than a vehicle of transmission |
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| Ways of speaking and writing that limit what people can say, to whom, when and where |
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-Rhetorical Power
-Use language to create relationships that concurrently empower and disenfranchise (e.g., sane-insane)
-Concludes that everyone participates in perpetuating the power in socially organized through the creation and use of discourse |
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| Jurgen Habermas: Communicative Action |
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-Humans act in the world in a strategic or communicative way
-Based on two claims
1. Humans require langauge in order to persue goals and to coordinate actions with others
2. Speech is a form of social action |
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Shared resources for interpreting various worlds
-part of Jurgen Habermas: Communicative Action |
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| Communicating Orientation |
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The view that all perople should be able to speak freely and not be repressed in the process
-Part of Jergen Habermas: Communicative Action |
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