Tuesday, February 28, 2012
Sunday, February 26, 2012
Feb. 27th class cancelled
cancelled. We will resume again on Wednesday (unless I indicate
otherwise). Sorry for any inconvenience resulting from this!
Illusion of Life (Lecture)
Communication
Humans have a natural need to symbolize
-represent experiences to comprehend and communicate them
Discursive symbols
-units with fixed associations
-words, numbers, signs that represent things in the physical world
-typical medium of study for rhetoricians; medium of debate
e.g. “woman” - instant associations (even where gender theory debates exist)
e.g. “rhetoric” - 3 definitions so far; a definite common element relating to persuasion
But not all experience can be discursively defined
-feelings and emotions
Nonsidcursive symbols
-units without fixed associations
-emotional matter that is felt as quality
-can elicit powerful associations which are persuasive
e.g. a shape (square, circle)
e.g. a chord
Music as Communication
Music communicates
-with or without lyrics
-discursively and non-discursively
-even non-discursive effects are often definite – e.g. music vs. mood
-music is (usually) designed with audience and effect in mind
Music is pervasive
-we are constantly exposed to music
-we are naturally pre-disposed to listening
-music naturally comes with a variety of experience and media (from shopping to movies)
-however rhetorical aspects of music are generally not the most salient
Illusion of Life
Music doesn't create feelings – rather, it represents them
-however it can still make us recall and experience feelings in a powerful way: virtual experience
-music sounds the way feelings feel
How is this accomplished?
Virtual Time
-Intensity and Release patterns
Virtual Experience
-Tragic and Comic lyrics
Incongruity/Congruity
Intensity and Release
Human life itself works through patterns of intensity and release:
-Intensity: shocks and instabilities; stress and action
-Release: resolutions and affirmations; downtime and contemplation
We are 'wired' to have certain common responses to intensity and release
-heart rate, breathing, pain, laughter, crying, sudden movements, comfort, melancholia/depression, focus, excitement, mental overload, etc. etc.
This is reflected in communication:
Paralinguistic Cues
-devices associated with language used to relate emotion
-mimic natural responses to intensity/release
-pitch, volume, rate, rhythm, emphasis in speaking
-font, layout, case in text
This is also reflected in music
-rhythm, harmony, volume – nearly universal responses
-appreciation of musical virtuosity
We can also have vastly different actual experiences of intensity and release
-occupation, socioeconomic class, cultural identity, lived experiences = different understandings
-e.g. a firefighter and an office worker can have similar levels of work-related stress, but it comes in very different forms
This is also reflected in music...
Culture and Music
Music, like all communication, develops within particular cultural conditions (remember terministic screens)
Intensity/release patterns through which emotions are symbolized/expressed vary between cultures
Certain emotional responses and symbols are culturally-specific
Music genres often develop conventions for symbolizing particular emotions (i.e. certain sounds/patterns come to mean very specific things)
Contemporary Western Music
Three main influences:
Classical Music
-modern development built on classical (greek/roman cultural influences) and religious influences; scientific understanding of sound
-music theory; diatonic system; music education
-developed many conventionalized patterns of expression and symbolism – continue to influence all types of Western music
-most instruments played in all types of Western music today originate from classical music
Folk Music(s)
-ballads, minstrel songs, drinking songs, etc.
-English, Irish, German, French, Italian folk genres
-not theoretically-organized, but still developed very characteristic sounds
-gave us many song structures (still used today) and lyric-writing traditions
Jazz/Blues
-traces back to African music; developed by African-Americans in the US
-improvisational traditions; standards
-different (but overlapping) sets of conventions for expressions from classical/folk music
-crucial to development of rock music (and its many derivatives)
Contemporary (popular) Western music is itself very diverse and took on many other influences
Continuing to develop and take on new norms of expression
Pop music around the world heavily influenced by Western tradition
Radically different norms of expressing intensity/release exist around the world and within Western popular music
Pop music tends to reflect the most 'natural' and socially-accepted/fashionable norms of intensity/release
-easily recognizable and understandable
-widely understood and enjoyed
-lends itself well to commercial use (both in terms of sales and in terms of applications like advertisement etc.)
Alternative/'extreme' forms of music tend to bend these norms
-release/intensity pattens often not immediately recognizable
-requires 'acculturation' or careful listening/analysis to reconstruct these norms
-the payoff is frequently greater impact – higher intensity, more satisfying release
Music Tastes
Arguably all music is rhetorical:
-being liked/enjoyed is a motivated transaction
-all music taps into emotional responses through intensity/release
-the degree to which many people identify with and are willing to defend their music tastes proves it is a site of struggle
-purely instrumental music can elicit strong emotional responses and gather loyal followings
-extreme music with little social or commercial appeal often gathers highly loyal followings
How does music persuade?
Music persuades by creating an illusion of life
-mimics patterns of real life
-animates/represents experiences from an artist's perspective
-virtual experience (lyrics)
-virtual time (music)
Virtual Time
Actual Time
-linear succession of moments that we live through
Virtual Time
-offers listeners to suspend actual time and instead become immersed in a representation of time created by the song
-functions through intensity/release patterns: rhythm, harmony, melody, phrasing, instrumentation
Analysis of virtual time:
-does the music represent primarily intensity or release?
-sections: what are the patterns of intensity and release? Which predominates?
-narrative: do the intensity/release patterns develop? Do they accompany a story?
-drama: are the patterns of intensity resolved through release? Is there unresolved tension left in the piece?
| Intensity | Release |
1. Rhythmic structure | Fast/driving tempo | Slow tempo Consistent meter Predictable |
2. Harmonic structure | Dissonant/harsh | Consonant/mellow |
3. Melodic structure | Ascending | Descending |
4. Phrasing | Staccato (separated) | Legato (connected) |
5. Instrumentation | Many | Few |
Virtual Experience
Like virtual time, an alternative to day-to-day experience through an artist's perspective
Represented mainly through lyrics
Comic vs. Tragic World Views
Comic lyrics
-self-preservation; beating the odds; active roles and resistance
-associated with intensity patterns
Tragic lyrics
-self-consummation; dealing with moral sacrifice; coping with fate; passive roles and thought
-associated with release patterns
Poetic illusion
-looking back into virtual past, cannot be altered
-reflection
-associated with release patterns, tragic views
Dramatic illusion
-looking forward into virtual future, which offers uncertain destiny
-suspense
-associated with intensity patterns, comic views
Tragic/Comic World Views
Friedrich Nietzsche
German philosopher, 1844-1900
Radical, skeptical thinker - praised individualism and creativity, attacked collective culture, politics, religion as interfering with human freedom
"God is dead, for it is we who killed him"
Comedy:
-associated with stable values of dominant society
-reassures that the world is fine as it is and our knowledge of it is accurate
-hostile to difference – erases oppositional views; denies alienation
-reconciliation – in the end, we are rewarded for our good deeds and punished for our sins, and life goes on
Tragedy:
-'vacuum' created by the true uncertainty of the human condition
-creates instability – no guarantees of truth or positive resolutions
-however the world allows endless creativity and alternative thought, which should be embraced
-in the end, we always pay a price for trying to assert ourselves in the world
Marxism
Comic views and intensity
-support for dominant agendas or
-used for resistance – alternative future and assertion by the dominated
Tragic views and release
-alienation – encourages the dominated classes to accept their conditions
-alienation – exposes the alienating nature of the dominant system
Feminism
Intensity/Release and Comedy/Tragedy vs. gender stereotypes
-there is a traditional view that men prefer intensity/comic views and women – release/tragic views
-is this an unfair stereotype?
-is this an aspect of unique feminine culture/perspective?
Congruity/Incongruity
Do lyrics and music support or contradict each other?
-intensity + comic lyrics + dramatic illusion = congruent
-release + tragic lyrics + poetic illusion = congruent
-intensity + tragic lyrics = incongruent
-release + comic lyrics = incongruent
Incongruity often inverts lyrical messages – e.g. happy lyrics with disturbing music; happy music with disturbing lyrics; difficult themes with upbeat music, etc.
Consider not only the technical aspects of congruence
-is the particular approach taken by the song rhetorically effective?
-is the rhetorical aim of the song appropriate for the strategy used?
-is the song supporting or attacking existing views?
-e.g. is the resulting song too intense to produce happy associations?
-e.g. is the resulting song too depressing to encourage action/change of views?
-e.g. is the resulting song too controversial to be effective?
Strategic ambiguity
-avoiding specifics in making claims (e.g. not saying whether something is good or bad)
-but using congruity with music to guide the audience to the same conclusion
Rhetorical ascription
Using familiar imagery and sounds to draw audience attention to topics and perspectives they may not originally identify with
Lyrical ascription
-examples and stories that the audience can easily relate to
Musical inscription
-using sounds that particular audience can easily relate to
e.g. human trafficking ads
e.g. coke ads
Remember – music does not cause feelings!
It simply communicates and evokes particular messages.
Taken-for-granted beliefs vs. resisting messages
Monday, February 13, 2012
Midterm Review
Rhetoric (1)
The art and study of persuasion.
Rhetoric (2)
Signs and texts that accomplish persuasion.
Rhetoric (3)
The action potential of language and signs.
The art and study of rhetoric has emerged from social and political conditions in history
-broader philosophical world views
Rhetoric can be an intentional art and craft, working through a series of appeals and structures
-logos, pathos, ethos, kairos
-Toulmin model
People naturally respond to structure and logic, but they similarly respond to narratives and dramas
-rhetoric can be about more than just appeals
Rhetoric can be unintentional and inherent to languages and/or media used
-Burke
-we communicate by repeating and developing already-existing signs & language
-texts often say more than they mean to say
All thought, communication and rhetoric can only happen through specific sets of terms, values, world views
-terministic screens
-recurring narratives
-social institutions reinforcing these values
World views – and arguments they support – are always a choice
-there are always other rhetorical views and possibilities, even opposites
-we must always include/focus on some things, and disregard others
Values, terms and arguments emerge out of real, material conditions
-where we come and what we do from defines our preferences and ways of thinking
-we are separated from other people and their experiences by material as well as cultural conditions
There are many voices that seek to assert themselves and be accepted through culture
-different styles and ways of communicating come from different social and economic conditions
-in any society, some styles and voices are accepted and their values are promoted; others are sidelined
-cultural products are a site for struggle between ideas about the world, and between economic interests
-rhetoric can be used both to support and to oppose dominant ideas about the world.
We belong to many different cultural groups simultaneously
-through work, education, hobbies, popular culture preferences
-this often causes us to contradict ourselves – and use rhetoric on ourselves to resolve contradictions
Studying (popular) culture offers a fascinating look at the views, norms, debates and values of our society
-understanding struggles for meaning and rhetorical ways in which they operate helps us understand how the human world works
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“Cheat Sheet”
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Traditional Rhetoric
Persuasion
Rationality
Structure
Dialectic: meeting of opposite perspectives
Appeals:
Ethos, Logos, Pathos; also Kairos
Structure, style, expression
Cicero's canons:
Invention, Disposition (organization), Elocution (style), Memorization, Action
Toulmin model:
Claim, Grounds, Warrant, Backing, Rebuttal, Qualifier
Contemporary Rhetoric
Narrative – people as storytellers
Drama – people driven by motives
Cultivation effect: persuasion by recurring narratives/dramas; view of the world in terms of typical narratives/dramas
Dialectic: people define and restrict signs that they use to communicate their views, but these signs also define and restrict people's views
Terministic screens
'God Terms' vs. 'Devil Terms'
Identification/Division: power of naming/categorizing; ability to identify and agree with narratives and characters that fit your world view
Alienation: discomfort; guilt and mystery; fear of otherness; inability to reconcile what you see with your values
Narrative structure:
Setting, Characters, Narrator, Events, Causal & Temporal Relations, Intended Audience
Coherence, Fidelity, Conveyed Morals
Dramatic structure
The Pentad:
Act, Agent(s), Agency, Scene, Purpose
Means of Absolution:
Transcendence, Mortification, Victimage (Comic Fool vs. Tragic Hero)
Values, Role Models
Marxist Cultural Theory
Materialism: all culture, ideology and rhetoric is grounded in real economic conditions of people
Base (economics) vs. Superstructure (culture)
Modes of Production
Dialectic: signs are created by material and social conditions in the world, but also create these material and social conditions
Class Struggle
Capitalism
Bourgeoisie vs. Proletariat; Lumpenproletariat, Intelligentsia and Aristocracy on the sidelines
Ideology: an overall world view created by social and economic institutions
Different classes have different ideologies, but
Hegemony: ideological domination of all classes by the economically-dominant class (bourgeoisie)
Soft power (ISAs) vs. Hard power (ISAs) – Hegemony mostly works through repeated 'soft' messages
Culture and Arts: key role in creating, maintaining, challenging dominant ideology
Commodification, Commodity Fetishism (use value vs. exchange value), Reification
Cultural economy: cultural tastes also a form of capital
Different classes = different genres and styles
Alienation: (sense of) inability to control your own economic and cultural conditions; (sense of) your values, ideas and world views being denied by dominant society
Readings (of the real world):
Preferred reading, Oppositional reading, Subverted (oppositional) reading, Inflected (oppositional) reading
Subject positions: Models vs. Antimodels
Feminism and Gender Theory
-First Wave (women's suffrage movements)
-Second Wave (women's liberation movements)
-Third Wave (current)
-social identity vs. biological identity
-male vs. female heroes
-assertiveness and subjectivity
Feminism (Feb. 6-10th Lectures)
History of Feminism
MYTHS OF GENDER HISTORY
(1) Natural/Primitive Gender Roles
-men's and women's roles were defined by natural conditions in the earliest societies, and women inevitably ended up in subordinate roles from the earliest of times
In fact, some of the most diverse and equal-power arrangements can be found in primitive hunter-gatherer and communal societies
Survival of groups mattered more than power within them
(2) Cultural Development of Women's Rights
-as civilization became more sophisticated, women's rights constantly improved because of cultural progress
In fact, many highly-developed and wealthy societies were historically the most patriarchal
The low point of women's rights is feudal, land-owning societies – marriage securing inheritance and social prestige: material basis
(3) Cultural Development of Sexual Deviance
-unconventional gender roles and sexual behaviours are products of modern civilization
In fact, there is a lot of historical evidence of both the existence and the social acceptance of alternative sexual behaviour in ancient history
The main modern development is not unconventional behaviours and thoughts, but the idea that these behaviours or thoughts is proof of deep, deviant individual identity
Feminism
Modern women's rights an issue since Renaissance and Enlightenment opened some opportunities for women
Grounded in Human Rights discourse of the 18th century
Mary Wollstonecraft (1759-1797)
British writer, philosopher
A Vindication of the Rights of Men (1790) – attacked aristocratic ideals and social order; gender stereotypes and norms of chivalric behaviour; described an ideal society based on the self-sufficient family
A Vindication of the Rights of Women (1792) – argued for need to extend all political and human rights to women in complete equality with men
Three waves
First-Wave Feminism
Late 19th – early 20th century
Political and civil rights
Succeeded – in Canada, voting rights from 1917, women legally confirmed as 'persons' from 1929
Not necessarily equality – but an ability and freedom to develop own talents, without subordination to men's needs and ideals (A Room of One's Own, Virginia Woolf)
Second-Wave Feminism
1960s-1980s
Full protection of civil rights, employment and other opportunities; sexual freedom, birth control and abortion rights; political representation and recognition of unique feminine perspective
Closely (but not consistently) aligned with gay rights movements – both fought for sexual liberation
Produced substantial body of academic work – Feminist theory, Queer theory
Partially succeeded – in Canada, Royal Commission on Status of Women in 1970, NAC in 1972, Charter of Rights and Freedoms in 1982; discrimination in all fields explicitly abolished
But women still continued to earn less than men ('glass ceiling')
Movement fragmented and broke down partially due to internal conflicts – radicalism, politicization, white middle-class identity, contentious issues such as pornography and sexual deviance
Third-Wave Feminism
1980s-today
Continuing to advance rights of women, while re-examining some of the positions of 2nd wave movements
Rejection of essentialism (the notion of 'woman' or 'feminine identity' as definable) and universalism (the view that all women have similar experiences and issues)
Diversification – exploring issues unique to women of very different cultural and economic backgrounds
Standpoints – focus not only on women and their perspectives of struggle for gender rights, but on how gender is viewed from a variety of perspectives
Broad view of gender and sex – not categories (man vs. woman, straight vs. gay) but ranges and spectra
Closer alignment with gay rights movements, intellectual movements, men's movements
Empowerment and expansion of feminist ideals through all fields of activity (including popular culture, education, etc.)
Reclamation and reversal of means of oppression – derogatory terms (e.g. SlutWalk), pornography, sex work
Continued problems – politicization, political correctness, predominance of white middle-class values, self-negation by post-feminism
Feminist Rhetoric
Not theoretically unified
-many strands of research
-many viewpoints
Common themes:
-Exposing masculine stereotypes & distortions in (popular) culture
-Discovering and studying female creativity, genres, styles, identities, etc.
-Examining social and cultural forces that shape women's lives
-Reconceptualizing women's roles and ideas
Patriarchy
-Structure of society around family units with male authority figures at the center
Masculine Hegemony
-Gender/power inequalities
-Multiple masculinities/femininities dominated by heterosexual masculinity
Gender vs. Sex
-Sex: biological distinction/role
-Gender: sociocultural distinction/role
-Masculine hegemony: oppression based on gender
Feminist aesthetic:
Argument(s) that women have their own style(s), genres, cultures, etc.
-Exploring themes of common concern for women in any field
-e.g. subculture of female writers, designers, singers etc.
-Distinctive socioeconomic/cultural characteristics of women
-How they resist patriarchally-assigned roles
-Difference in masculine and feminine writing practices
Appropriate Texts: Sites of Struggle
Cultural texts which reinforce or challenge gender norms in obvious or subtle ways
-what is (ab)normal, (in)appropriate, (un)desirable?
Readings
-blatant vs. occluded (obvious vs. hidden in subtext)
-preferred
-oppositional, subverted, inflected
-models vs. antimodels – for women and men
Oppositions
-male hero vs. female hero
-pretty, ladylike, likeable, capricious, bitchy vs. manly, strong, dominant, straightforward, macho
-assertiveness and subjectivity – very different views normal for men and women
-'boys will be boys' vs. 'girls will be girls' – taken-for-granted behaviours
-fictional worlds ~ real world
The Male Gaze
-predominance of male heroes – 'cowboy hero', 'bad guy' vs. 'object of affection'
-female characters portrayed in relation to male characters and their judgments
-women invited to see female characters (and themselves) from male perspective
-proactive positive female characters in traditionally-male roles often a 'gimmick' – intentionally odd to attract reader attention rather than challenge norms
-masculine culture often forces women to identify against themselves
-dominant cultural artifacts ignoring/misrepresenting legitimate female experiences
-encourages women to think like men; identify with male ways of thought, preferences and practifces; tolerate and become complicit in own domination
-feminism encourages women to become resisting readers, not taking representations for granted
Implications of Readings
If we are to adopt the norms or accept challenges offered by the text, what should our world be like? What should our attitudes to women be like?
What should our attitudes to men be like?
Whose perspectives are we allowed to observe women or men from?
Who should we identify with or against?
Feminist Perspectives
Liberal Feminism
-opportunities for women in male-dominated areas
-sites of struggle: depictions of women in these areas – preferred vs. oppositional readings
-how are women in these areas portrayed: normal, successful, happy vs. odd, unsuccessful, unhappy
Radical Feminism
-masculine hegemony creates women and men differently
-girls taught to look and behave 'ladylike'
-boys taught to look and behave 'like a man'
-women who act assertively called 'bitch', 'lesbian', 'feminazi' etc.
-men who act supportively or submissively called 'wimp', 'gay', etc.
-general conclusion: society conditions men as subjects of the world (active, assertive, dominant), women as objects (passive, supportive, auxiliary); male agendas at forefront
-radical feminist critique reveals unconscious causes of women's opporession
-deconstructing norms of male/female behaviour and connecting them to dominant order/objectification
-ideal woman; beautiful (sex) object; woman's work
-vs. bitchy, masculine, 'abnormal' women – can be used to support preferred readings or produce oppositional critique
Marxist Feminism
-economic equality for women
-breaking 'glass ceiling'
-women shown in powerful or disadvantaged roles in the media
-are women shown as receiving what they deserve based on skills? Do they pay for it in other ways?
Cultural Feminism
-promoting traditionally female activities that were devalued/trivialized – raising the status of traditional women's roles
-e.g. cooking, cleaning, sewing, childrearing, housekeeping, nursing or secretarial work – traditionally valued far less than male dominant positions (work outside of home; work in managerial positions)
-e.g. feminine qualities – cooperative, nurturing, emotional personality – traditionally seen as 'weak'
and proof of women's diminished responsibility and capacity to act
-what is considered appropriate and inappropriate behaviour for women (and men)?
-how did these assumptions become common sense?
-how are preferred readings repeated and rationalized in popular culture?
-cultural feminists argue that traditionally-feminine skills and personality traits should be embraced and valued by both women and men, on a level equal to traditionally-male activities
Male Feminism
-a) male advocacy of women's rights, acknowledgment of masculine hegemony as source of problem
-b) men are also subjected to unjust and unrealistic stereotyping by patriarchal society
-alternative masculinities – rejection of strong, dominant, competitive male norms as suitable for everyone
-examining and deconstructing male stereotypes
Queer Theory
-built on basis of feminist perspectives
-attacks patriarchal norms, on basis of enforced heterosexuality
-looks beyond simply gay/lesbian experiences – alternative sexualities, sex/gender as spectra
-critical examination of how homophobic/'deviant' categories develop alongside 'normal' ones
-looking at how ideas of 'normal' vs. 'deviant' are unstable
-queer theorists argue that the view of gender and sexuality as binary (male vs. female, heterosexual vs. homosexual, normal vs. deviant) is culturally-produced, but in fact unsupportable
Post-Feminism
-suggests that the efforts of current feminism have done good, but ultimately feminist views of ideal solutions to human problems are flawed
-women viewed as objects in patriarchal society – BUT would becoming subjects actually solve problems?
-subjectivity as such is extremely limited – men are conditioned just as much as women, and subject to stereotyping, injustice, and false perceptions of identity and norm
-being a subject/free individual is an illusion – 'fantasy of wholeness' driving modern society, when in fact we are constantly shaped by our connections to society, other people, and our unconscious psyche, none of which we have any personal control over
-therefore, “woman” as a social category doesn't actually matter – “subject” is a problem for us all
-men and women are not actually an oppositional
-gender is not a true identity – and the struggle over trying to assert an autonomous female gender only promotes divisions and reinforces discriminatory thinking
-particular biological/psychological tendencies that come with male/female body chemistry should not be ignored – social conditioning is not the only origin of stereotypes and behaviours
-women are not always merely coerced into traditional supporting roles and behaviours – e.g. being a mother and wife can be an intelligent, conscious choice, rather than blind acceptance of norm
-has feminism become a religion?
-has feminism become too politicized? (creation of male vs. female opposition for political gain; drawing away from common problems)
-post-feminism argues that we cannot have an essentialist and universalist view of gender; need to address common problems faced by men & women instead
Friday, February 3, 2012
Proposal: Topic Choice, Guidelines, Sample
Choosing Your Topic
1. Research Artifact
2. Research Question
or
1. Research Question
2. Research Artifact
You can start with either an artifact (or an area of interest) or a research question; in the end you need both to be formulated for your topic
Research Question
Ultimate goal: Unpacking the underlying messages in popular culture texts.
Values? Norms? Expectations?
What does popular culture have to say about an issue or theme in society?
Narrow down! - 6-8 page paper; not 2 pages nor 40 pages
Research Artifact
- An argument or discussion (political, scientific, cultural)
- A work of literature (story, play, novel)
- A film, TV show, animated feature, etc.
- A song, album, music video, podcast, etc.
- An interactive multimedia artifact (website, video game, DVD menu, etc.)
- An advertisement, poster, public service announcement (TV, web-based, radio, etc.)
- A product design or package, a fashion item or trend, a logo
Topic Examples
1. Scope too broad:
Barack Obama's rhetorical appeal
Violence in Video Games
Origins of sexism in popular culture
Major themes in Harry Potter series
Death metal
Ads that make us buy Coke
Problem:
> poorly-defined research question
> little effort to think of an initial answer
2. Still too broad (but better):
Obama's use of ethos
Violence in First Person Shooters
Sexist stereotypes in Sitcoms
Coming-of-age themes in Harry Potter
Progressive melodic death metal
Why Coke's Christmas ads are effective
Problem:
> missing either concrete research questions or artifacts, no definite approach
3. Specific but perhaps too ambitious:
Obama's use of ethos to propose jobs plans in Sept 8th speech to congress
Narratives rationalizing causes of war in current-generation FPS games
Social norms of gender vs. female characters in Modern Family
Harry Potter as flawed role model for teen-to-adult emotional transitions
Progressive melodic death metal and alternative views on grief & mortality
Penguins and polar bears: emotional appeal of animated animals in Coke marketing
Problem:
>research question or artifacts too broad, approach too complex
4. Not ambitious enough:
Obama's use of ethos through appeal to democratic authority in BBC interview
Why Modern Warfare 2's “No Russian” level caused a media uproar
Gloria and Latino female stereotypes in Modern Family
Harry vs. Voldemort – hero and villain stereotypes
Opeth's “Bleak” (song) and alternative views on grief & mortality within death metal
History of polar bears in Coke advertisement
Problem:
>research question or artifacts too narrow; conclusions too self-evident
5. Good topics:
Obama's use of bipartisan appeals in Sept 8th speech as example of effective ethos
Dramatistic analysis of justification for war in Modern Warfare 3 (single player)
Social norms of marriage vs. female characters in first season of Modern Family
The character of Harry and dramatistic absolution of flaws through self-sacrifice
Opeth's “Blackwater Park” (album) and alternative views on grief & mortality
Coke's penguins vs. polar bears – emotional appeal through recognizable narratives of overcoming difference
Checklist:
>specific research question, well-defined artifact(s), approach identified
Essay Proposals
A proposal is meant to convince your audience (me) that your chosen topic is acceptable for credit in this course
You do so by demonstrating a specific research question, artifact(s) and approach
Not set in stone!
Topic can be adjusted and even changed later (in consultation with me)
Proposal Structure:
1. Introduction
-Should include a statement of intent like: “For my final essay, I would like to conduct a rhetorical analysis of...” or “I propose to analyze [x] using [y] approach”
-Should include your main research question
-Convince me (as your reader) that your research question is (a) interesting and original; (b) answerable and practical
-Should include a quick preview of your main points/possible areas to explore
2. Primary Artifact(s)
-Should include a brief description of the content and interesting features of the artifact(s) you plan to analyze. Note any arguments that your artifact seems to be making.
-Provide a brief description of the context for the artifact
-Be realistic and remember to choose a specific enough artifact, text, or features of several texts that you will analyze. Convince me (as your reader) that this is a manageable, interesting and culturally-valuable artifact – not merely something you like!
3. Methodology
-Describe which rhetorical approaches and methods you plan to use. Refer to your textbook chapters for possible options. Remember that you can choose more than one approach, but don't take on too many!
-Explain how/why your methodology works for the artifact(s) you chose, and how it will help you answer your research question and draw practical conclusions
-If you are not fully familiar with the research method, mention what else you might need to learn to complete your methodology!
4. Additional Sources
-Describe any outside sources that you think may be useful for your project. I encourage you to do at least some outside research.
-If you already consulted some sources (e.g. articles online; reference sources; readings on rhetorical methods), list them and explain how these may be valuable
-If you do not have external sources yet, note the kinds of research you might consider as you write your paper.
5. Conclusion
-Summarize what you expect to discover or argue through your paper. If you already have a tentative argument to make about your source, be sure to mention it!
-Consider the implications of what your conclusion about your artifact(s) might have
-Restate why you believe this will make an interesting, original, convincing paper
Your Essay Proposal:
500-1000 words, formal text, Due Oct. 13th






Marxist Cultural Theory and Rhetoric
Marxism
-Economic theory of historical development
-Modes of production (and consumption) determine politics and culture of society
-History as an ongoing 'spiral' of rising and collapsing economic systems
-Society divided into socioeconomic classes, with one class necessarily dominating
-Not just a 'communist theory' – a more general outlook on history
Karl Marx
-German economic historian, journalist, 1818-1883
Friedrich Engels
-German industrialist, 1820-1895
-materialist history
-class struggle, communism
Antonio Gramsci
-Italian politician , 1891-1937
-hegemony
Louis Althusser
-French philosopher, 1918-1990
-Ideological State Apparatuses (ISAs)
Stuart Hall
-Jamaican sociologist, 1932-
-reception theory
Modes of production:
Tribal hordes
Neolithic kinship
Oriental despotism
Ancient slaveholders
Feudalism
Capitalism
Communism
Classes:
e.g. patricians vs. plebs vs. slaves in Rome
e.g. Three Estates – nobility, clergy and peasantry in Medieval Europe
e.g. bourgeoisie and proletariat which developed as a result of industrial revolution
Capitalism:
Mode of production which emerged out of three main factors:
-development of urban middle class engaged primarily in trade & services: bourgeoisie
-industrial and scientific revolution: efficient factory labour
-growth and development of efficient international trade networks: free market
Class conflict
-bourgeoisie: control the means of production and trade system, reap the benefits
-proletariat: work the means of production, alienated from the real fruits of their labour
-lumpenproletariat (organized crime systems) and remnants of aristocracy: watch the conflict from the sidelines, unable to engage in it
-in Marx's vision, the proletariat was predicted to triumph, leading to 'end of history' and creation of a classless communal society
Socioeconomics
Base
-economic foundation of society
vs. Superstructure
-cultural/ideological order built upon that foundation
Cultural institutions are created by economic conditions
-politics, law, religion, philosophy, arts
Ideology is an overall 'world view' created by those cultural institutions
-ideas, beliefs, forms, values
-inherent to classes; dominated by the economically-advantaged class
Hegemony:
-Ideological domination of all classes by the ruling block
-Dominated classes adopt (or are forced to adopt) the values of ruling block
-...but these values do not reflect the reality of their experience
-'false consciousness' created and enforced
-Created largely through so-called ISAs (Ideological State Apparatuses)
-consensus-building social institutions: church, school, media, etc.
-institutions reinforce each other and if one falls (e.g. decline of religion) others come to take its place (e.g. rise of mass media)
-vs. stable, concentrated RSAs (Repressive State Apparatuses: criminal justice, military, social welfare systems)
-Works largely not through 'hard' power and suppression of dissent, but 'soft' power
-subtle repeated messages
-Does not seek to eliminate class conflict and instability
-instead manages this instability and turns classes on 'false' targets instead of the source of their domination
-e.g. US healthcare debates; 'moral majority' movements; working-class hostility to criminals and the ultra-rich vs. fierce defense of middle-class values
Culture & Arts
-neither innocent entertainment nor free of social & economic forces
-have an important role in maintaining ideology
-but not merely used for coercion and domination
-popular culture texts often have mixed messages: many voices speaking at once
-reflect the broader cultural realities, ongoing conflict
-the authors often say more than they even mean to by using particular language
-art is often 'fugitive' – allows alternate views to be presented
-different styles of art & popular culture come from different classes, and are viewed/valued differently by different classes
Commodification
-use value vs. exchange value
-the actual use of an item: what you can do/produce with it or gain from it
-vs. what you believe that item to be worth
Commodity Fetishism:
-displacement of use value by exchange value
-accelerated production of items that have little use value but high exchange value
-results in alienation of workers from the fruits of their labour
-e.g. Chinese sweatshop labourers have little use for iPods or fashionable clothing (and thus have no choice but to accept low pay for them)
-e.g. office workers in the West have little choice but to follow fashion (or be thought of as weird) and have to work harder to be able to own more 'cool' things
Commodity Fetishism
...leads to Reification:
-tendency to view people & human relations as objects – commodities with use & exchange value
-value and acceptance of certain types of identities and relationships, devaluation (if not rejection) of others
-in arts/popular culture, produces aggressive imposition of tastes along hegemonic lines
-reinforced by artistic institutions (critics, collectors, sales charts, media)
-even resistance & individual identity are measured and co-opted in such society
-genres previously associated with resistance/alternative views become commercialized
-e.g. rap, punk, surrealism = hot news + cool merchandize
Cultural Economy
-popular culture and art also work by economic logic and emerge from class preferences
-just like money and property have value, cultural tastes and knowledge are also a form of capital
-social and cultural status can be exchanged for financial welfare, but are also valuable on their own (Bourdieu)
-intellectual and artistic elites guard their cultural tastes with prejudice, produce cultural capital by adopting unexpected/complex preferences that their level of education/knowledge allows only them to fully understand
-Distinction: profit gained by cultural elites from 'high culture' (Bourdieu)
-wealthy elites and savvy middle-class people 'buy into' elite cultural tastes – fund intellectual elites, buy reified products of 'high culture' (books, paintings, records, etc.), use this as evidence of their cultural dominance (but are unable to actually compete with cultural elites)
-lower middle class and working class are left out – cannot understand or afford 'high culture'; produce their own 'vulgar' cultural genres that are either looked down on by cultural and economic elites, or appropriated and adjusted by dominant culture to maintain the status quo and manage instability
Marxism and Rhetoric
-no 'Marxist rhetorical method' as such – only cultural theory as it applies to rhetoric
-explaining why particular arguments are made, why particular values are defended
-examining subtle ways in which hegemony is embedded in popular culture
-discovering ways in which the social status quo is challenged or can be challenged
-critical reading – looking for material motives driving any text
Materialism:
-all ideas, rules, norms, customs, social practices based on real, observable objects, conditions and practices
-popular culture vs. lived experiences + economic interests
-there are always insiders and outsiders; dominant vs. dominated elements in society, all of whom seek both material well-being and acceptance of their cultural views
Economic metaphors:
-how signs reinforce the 'normal' material order of the world
-how signs challenge or subvert it: alternative systems of meaning (e.g. subcultures)
Sites of struggle and reading
-popular culture can either affirm real-life experience, or be incongruous with it
-popular culture texts are sites where interpretation of material reality can be challenged
Preferred reading
-'normal', common sense reading that directly points to dominant class values
-tells us what we ought and ought not believe or value
Oppositional reading
-alternative readings, values challenging dominant views
-tells us to question what we ought and ought not believe
Subverted oppositional reading
-radical readings rejecting dominant views outright
-tells us to reject dominant beliefs about what we ought to be, and adopt more 'real' ones
Inflected oppositional reading
-bending dominant culture to own needs
-tells us to oppose some aspects of dominant culture, but embrace others (for our own benefit)
Overt vs. occluded hegemonic messages
Ideas of normalcy/desirability
Subject positions
-Models – characters showing desirable/normal traits
-Anti-models – characters showing undesirable/abnormal traits
-may be sympathetic, but not inspiring imitation