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Dramatism, a communication studies theory, was developed by Kenneth Burke as a tool for analyzing human relationships through the use of language. Burke viewed dramatism from the lens of logology , which studies how people's ways of speaking shape their attitudes towards the world. [ 1 ]
The dramatistic pentad forms the core structure of dramatism, a method for examining motivations that the renowned literary critic Kenneth Burke developed. Dramatism recommends the use of a metalinguistic approach to stories about human action that investigates the roles and uses of five rhetorical elements common to all narratives, each of which is related to a question.
Dramatic theory attempts to form theories about theatre and drama.Drama is defined as a form of art in which a written play is used as basis for a performance. [1]: 63 Dramatic theory is studied as part of theatre studies.
Language as Symbolic Action: Essays on Life, Literature and Method is a book by Kenneth Burke, published in 1966 by the University of California Press. [1] As indicated by the title, the book, Burke's 16th published work, consists of “many of Burke's essays which have appeared in widely diverse periodicals” and has thus been regarded as one of the most significant resources for studying ...
Words convey a particular meaning, conjuring images and ideas that induce support toward beliefs or opinions. Receivers interpret the intended message through a metaphorical screen of their own vocabulary and perspective to the world. [3] Certain terms may grab attention and lead to a particular conclusion. [4] "Language reflects, selects, and ...
Burke's definition of man states: "Man is the symbol-using (symbol-making, symbol-misusing) animal, inventor of the negative (or moralized by the negative), separated from his natural condition by instruments of his own making, goaded by the spirit of hierarchy (or moved by the sense of order), and rotten with perfection".
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. . . .
Virtually every contemporary theatre artist and group of international note is here identified as a practitioner of the postdramatic." [ 22 ] Fuchs goes on to point out that Lehmann attempts to show the range of the postdramatic "by showing that it can contain all moods and modes, hieratic and profane, hermetic and popular, abstract and ...