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Propaganda is a form of persuasion used to indoctrinate a population towards an individual or a particular agenda. [8]: 7 Coercion is a form of persuasion that uses aggressive threats and the provocation of fear and/or shame to influence a person's behavior.
Audience must adopt a particular ethos prior to being persuaded by constitutive rhetoric, thus the ethos of the subject of discourse can be critically studied and interpreted through a text. [4] While these theorists all contributed to the theory of constitutive rhetoric, James Boyd White was the first to coin the term.
In particular, the concept of identification can expand our vision of the realm of rhetoric as more than solely agonistic. To be sure, that is the way we have traditionally situated it: “Rhetoric,” writes Burke, “is par excellence the region of the Scramble, of insult and injury, bickering, squabbling, malice and the lie, cloaked malice and the subsidized lie. . . .
A work of art may embody an inference process and be an argument without being an explicit argumentation. That is the difference, for example, between most of War and Peace and its final section. 3. Speculative rhetoric or methodeutic. For Peirce this is the theory of effective use of signs in investigations, expositions, and applications of truth.
The characteristics of the nature of the communication impacts the degree of attitude change. One such characteristic is the design of the message; people tend be more persuaded by messages that don't appear to be targeted for them. [1]
Newsweek made reference to Lennon's "more popular than Jesus" comments in an issue published in March, [22] and the interview had appeared in Detroit magazine in May. [23] On 3 July, Cleave's four Beatles interviews were published together in a five-page article in The New York Times Magazine, titled "Old Beatles – A Study in Paradox". [24]
Self-persuasion came about based on the more traditional or direct strategies of persuasion, which have been around for at least 2,300 years and studied by eminent social psychologists from Aristotle to Carl Hovland, they focused their attention on these three principal factors: the nature of the message, the characteristics of the communicator, and the characteristics of the audience.
The first art manifesto of the 20th century was introduced with the Futurists in Italy in 1909, [1] followed by the Cubists, Vorticists, Dadaists and the Surrealists: the period up to World War II created what are still the best known manifestos. Although they never stopped being issued, other media such as the growth of broadcasting tended to ...