|
Rhetorical
Devices for Vrooman’s Rhetoric Class |
|||||
|
|
|
|
|
|
|
|
schemes |
1) orthography |
emoticon |
Textual animation
of facial emotion. |
:-) ;-) 8| >-{ (^o^) (^_~) o_0 |
|
|
wiki |
|
acronym |
Abbreviations using
initial letters. |
CEO, DNA, GTL, K9, w/o, lol, brb, IMHO, lulz |
|
|
wiki |
|
l33tspeak |
Alphanumeric
substitution and intentional misspelling. |
Se7en, pwned, kewl, |\|3W|3, w00t, sk1llz, |
|
|
wiki |
|
portmanteau |
Word blends. |
FedEx,
ginormous, blaxploitation, Brangelina, Twihard |
|
|
b |
2) error |
tmesis |
A word is separated
into two parts, with an insertion. |
abso-bloody-lutely,
a whole nother |
|
|
wiki |
|
spoonerism |
A switching of
corresponding sounds. |
go help me sod, our
shoving leopard |
|
|
b |
|
enallage |
Intentional grammar
misuse. |
We was robbed! –J Jacobs |
|
|
a (p. 471) |
3) alliteration |
consonance |
Repetition of
consonant sounds. |
Progress is not a
proclamation nor palaver –WG Harding |
|
|
a (p. 472) |
|
assonance |
Repetition of vowel
sounds. |
I have seen/ The
old gods go . . . –C Sandberg |
|
|
a (p. 466) |
4) hyperbaton |
parenthesis |
Insertion of an
interrupting verbal unit. |
There is even, and it
is the achievement of this book, a curious sense of happiness . . . –N Mailer |
|
|
a (p. 466) |
|
anastrophe |
Inversion of usual
word order. |
Strong am I with
the Force –Yoda |
|
|
a (p. 468) |
5) omission |
ellipses |
Omission of words implied
by context. |
Rape is the sexual
sin of the mob, adultery of the bourgeoisie, and incest of the aristocracy.
–J Updike |
|
|
a (p. 469) |
|
asyndeton |
Omission of
conjunctions |
Veni, vidi, vici. (I came, I saw, I conquered) –Caesar |
|
|
b |
6) emphatics |
diacope |
Emphatic repetition
after an intervening phrase. |
We give thanks to
thee, O God, we give thanks –Psalm 75:1 |
|
|
b |
|
epizeuxis |
Repetition of one
word |
Words, words, words
–Hamlet |
|
|
b |
|
enumeratio |
Detailing parts or arguments. |
Who’s gonna turn down a Junior Mint? It’s chocolate; it’s
peppermint; it’s delicious. –Kramer |
|
|
b |
|
scesis onomaton |
A string of
generally synonymous statements. |
May God arise, may his
enemies be scattered, may his foes flee before him –Psalm 68:1 |
|
|
a (p. 476) |
7) arrangement |
climax |
Ordered by
increasing importance. |
Good night, good
luck, a merry Christmas, and God bless all of you. . . –F Borman |
|
|
wiki |
|
anticlimax |
Ending a climactic
structure with something of less importance. |
He has seen the
ravages of war, he has known natural catastrophes, he has
been to singles bars. –W Allen |
|
|
a (p. 470) |
8) repetition |
polysyndeton |
Liberal use of
conjunction. |
And the people did
feast upon the lambs and sloths and carp and anchovies and orangutans . . .-Monty Python |
|
|
a (p. 472) |
|
anaphora |
Repetition of words
at the beginnings of successive clauses. |
We shall fight on
the beaches, we shall fight on the landing grounds, we shall fight . . . –W
Churchill |
|
|
a (p. 473) |
|
epistrophe |
Repetition of words
at the ends of successive clauses. |
When I was a child,
I spoke as a child, I understood as a child, I thought as a child
–1 Cor. 13:11 |
|
|
a (p. 474) |
|
epanalepsis |
Repetition of a
word at the beginning and end of a clause. |
Common sense is not
so common. –Voltaire |
|
|
a (p. 475) |
|
anadiplosis |
Repetition of the
last word of one clause at the beginning of the next. |
Talent in an
adornment; an adornment is also a concealment. –F Nietzsche |
|
|
a (p. 463) |
9) parallelisms |
parallelism |
Similarity in
structure in phrases or clauses. |
. . . which will banish his vacillations and uncertainties,
purge his unneeded influences, and perfect his native gifts for language,
landscape, and portraiture. –LE Sissman |
|
|
a (p. 464) |
|
isocolon |
Parallelism with a
similar number of words or syllables |
For the end of a
theoretical science is truth; but the end of a practical science is
performance. –Aristotle |
|
|
b |
|
tricolon |
Isocolon with three parts |
That government of
the people, by the people, and for the people shall not perish fm the earth –A Lincoln |
|
|
a (p. 464) |
10) balance |
antithesis |
Juxtaposition of
contrasting ideas, often in parallel structure. |
That’s one small
step for man, on giant leap for mankind. –N Armstrong |
|
|
a (p. 477) |
|
antimetabole |
Repetition of
words, in successive clauses, in reverse grammatical order. |
Ask not what your
country can do for you; ask what you can do for your country. – JF Kennedy |
|
|
a (p. 478) |
|
chiasmus |
Reversal of
grammatical structures in successive clauses. |
His time a moment,
and a point his space. –A Pope |
|
|
|
|
|
|
|
|
|
tropes |
1) comparison |
metaphor |
An implied
comparison. |
I am the bread of
life –John 6:35 |
|
|
a (p. 479) |
|
simile |
An explicit
comparison. |
He was like a cock
who thought the sun had risen to hear him crow. –G Eliot |
|
|
a (p. 480) |
|
synecdoche |
A part stands in
for the whole. |
Give us this day
our daily bread. –Matthew 6:11 |
|
|
a (p. 481) |
|
metonymy |
Substitution of an
attribute or suggestive word. |
“Houston, we have a
problem.” –J Lovell |
|
|
a (p. 491) a (p. 492) |
2) oxymorons |
. . . as paradox |
A combination of
normally contradictory terms |
deafening silence,
safe risks, sweet sorrow, irregular pattern |
|
|
|
|
. . . as a pun |
A combination of
terms designed to communicate a potential contradiction |
jumbo shrimp,
military intelligence, British cuisine |
|
|
a (p. 482) |
3) puns |
antanaclasis |
Repetition of a
word in two different senses. |
If we don’t hang
together, we’ll hang separately. –B Franklin |
|
|
a (p. 482) |
|
paronomasia |
Use of words which
sound alike but have different meanings. |
Atheism is a non-prophet
institution –G Carlin |
|
|
a (p. 483) |
|
zeugma/syllepsis |
Use of a word
understood differently in relation to other words. |
I got a part-time
job at my father’s carpet store, laying tackless stripping and housewives by the score.
–W Zevon |
|
|
wiki |
|
paraprosdokian |
The latter part of
a sentence causes the audience to rethink the first part. |
I haven’t slept for
ten days, because that would be too long. –M Hedberg |
|
|
a (p. 485) |
3) substitution |
anthimeria |
Substitution of one
part of speech for another. |
I’ll unhair thy head. –Shakespeare |
|
|
a (p. 485) |
|
periphrasis |
Substitution of a
proper name for a descriptive phrase of vice versa. |
She’s a Pollyanna.
That’s so Raven. He Kanyed her moment. |
|
|
a (p. 485) |
4) personification |
prosopoeia |
Investing objects
or abstractions with human qualities |
The ground thirsts
for rain –Shakespeare |
|
|
a (p. 487) |
|
apostrophe |
Addressing
the prosopoeia |
Where, O death, thy
sting? Where, O death, thy victory? –1 Cor. 15:55 |
|
|
b |
5) exaggeration |
hyperbole |
Using exaggerated
terms for effect. |
I haven’t moved for
five thousand years. –TB Aldrich |
|
|
a (p. 487) |
|
auxesis |
Magnifying the
importance of something by using a disproportionate name. |
a fashion disaster,
an eruption of feeling, calling a scratch a grievous wound |
|
|
a (p. 487) |
6) understatement |
litotes |
Using
understatement for effect. |
Last week I saw a
woman flayed, and you will hardly believe how much it altered her appearance
for the worse. –J Swift |
|
|
a (p. 488) |
|
meiosis |
Diminishing the
importance of something by using a disproportionate name. |
calling a war a
spat or a tiff, calling the Civil War “the recent unpleasantness” |
|
|
b |
7) apophasis |
euphemism |
Substitution of
innocuous-seeming words for something unpleasant. |
adult beverage,
collateral damage |
|
|
a (p. 482) |
|
paralipsis |
Invoking a subject by
denying that it should be invoked. |
I don’t even want
to mention the student’s tendency not to read this far into obscure charts of
rhetorical terms. |
|
|
wiki |
8) profanity |
blasphemy |
Disrespectful use
of religious language |
Damn, Jesus H.
Christ, God |
|
|
sv |
|
body taboos |
Use of rude words
for body functions and/or sex. |
Piss. Shit. |
|
|
sv |
|
intensifiers |
Suggests a strength of feeling but no unique meaning. |
“That was bloody
terrible.” “Fucking awesome.” |
|
|
wiki |
|
minced oath |
An altered,
“polite,” form of profanity |
fricking, shoot, heck, dang, crickey, darn, gosh |
|
|
a (p. 489) |
9) irony |
antiphrasis |
Verbal irony of
patent contradiction. |
Thou wilt be
condemned to everlasting redemption for this –Shakespeare |
|
|
b |
|
epitrope |
A pretend
concession. |
Go right on ahead
and hit an eighty year-old man—that’s about all you’re able to do, with your
big college education –C Beaumont |
|
|
wiki |
|
sarcasm |
The use of
antiphrasis in mockery. |
What a niiiice shirt. |
|
|
a (p. 488) |
10) question |
erotema |
Asking a rhetorical
question. |
What obligation lay
on me to be popular? –E Burke |
|
|
a (p. 488) |
|
anthypophora |
Asking and then
answering a rhetorical question. |
"But there are
only three hundred of us," you object. Three hundred, yes, but men, but
armed, but Spartans, but atThermoplyae: I have
never seen three hundred so numerous.—Seneca |
|
|
b |
|
aporia |
Engaging in a mock
debate with a series of rhetorical questions. |
I am at a loss where
to begin. Shall I relate how your father Tromes was
a slave in the house of Elpias, who kept an
elementary school near the Temple of Theseus, and how he wore
shackles on his legs and a timber collar round his neck? or how your
mother practised daylight nuptials in an
outhouse next door to Heros the
bone-setter, and so brought you up to act in tableaux vivants and to excel in minor parts on the stage? |
|
|
visual |
1) color |
hue |
The identification
of the colors. |
http://netdna.webdesignerdepot.com/uploads/color/hsv-samples.jpg
|
|
|
c (p. 39) |
|
value |
The lightness or
darkness of a color. |
||
|
c (p. 39) |
|
saturation |
The purity or
vividness or depth of a color. |
||
|
|
2) light |
high contrast |
Bright lights and
dark shadows. |
|
|
|
|
|
low contrast |
Little difference
between darks and lights. Pleasant. Little shadow. |
http://4.bp.blogspot.com/-oVhUucIkjW8/Tx2RjPSy-cI/AAAAAAAAA_M/efMfxJ5BxvE/s1600/harry+sally.jpeg
|
|
|
|
3) perspective |
flat |
No illusion of
depth |
http://www.paintinghere.com/UploadPic/Henri%20Rousseau/big/The%20Dream.jpg |
|
|
c (p. 40) |
|
geometric |
An illusion of
depth and space. |
||
|
|
4) diagonals |
balanced |
The image is
symmetrical and stable. |
http://i.ytimg.com/vi/i8wLNHYC-eE/0.jpg http://mv.vatican.va/1_CommonFiles/z-patrons/Restorations/Restorations_01.jpg
|
|
|
|
|
oblique |
The image seems
unstable and pulled to the side. |
||
|
c (p. 49) |
5) space |
open |
The tops and sides
seem empty. |
https://yify-movie.com/images/screenshots/lawrence-of-arabia/1962/720p/large/movie-scene3.jpg
|
|
|
c (p. 49) |
|
closed |
The tops and sides
feel enclosed, trapped. |
||
|
d (p. 43) |
|
empty |
There are few
figures in the frame or is much white space. |
http://th00.deviantart.net/fs10/PRE/i/2006/098/b/f/Absolut_Vodka_by_madamgemini.jpg
|
|
|
d (p. 43) |
|
full |
The frame is dense
with figures. |
http://www.penwith.co.uk/artofeurope/bosch_garden_earthly_delights.jpg |
|
|
d (p. 53) |
6) focus |
grounding |
Is there a foreground, middleground and background, as in traditional Eurpoean art, or is it compressed? |
http://www.takegreatpictures.com/app/webroot/content/2010_images/2006/08/21/citizen_kane_2.jpg vs |
|
|
c (p. 45) |
|
focalizers |
Are figures or
colors or spaces used to pull the eye across the image? |
Blue and the
pointing gestures:
http://upload.wikimedia.org/wikipedia/commons/b/b0/Masaccio7.jpg
|
|
|
c (p. 49) |
7) angle |
high angle |
Are we looking down
on them? |
||
|
c (p. 49) |
|
low angle |
Are we looking up
to them? |
||
|
c (p. 49) |
|
eye-level |
Are we even with
them? |
http://images2.fanpop.com/images/photos/5500000/star-trek-2009-star-trek-2009-5590533-1423-606.jpg
|
|
|
d (p.37) |
8) implied distance |
long shots |
Is the subject
larger than people? (Buildings? Can you see their feet?) |
http://3.bp.blogspot.com/_Fkf6XTKxhKI/TK2xEXg2aQI/AAAAAAAAKYY/BK1gcCOC-Yc/s640/sound-of-music.jpg |
|
|
d (p.37) |
|
medium shots |
Is the subject
people in interaction (Are they about waist up?) |
http://webomatica.com/wordpress/images/movies/annie-hall.jpg |
|
|
d (p.37) |
|
close-ups |
Is the subject one person’s
face? |
http://2.bp.blogspot.com/_Ry2DLKGK9lA/R971WEYNVVI/AAAAAAAAAaY/ZKlEK4Jo2Uo/s400/belloq.jpg |
|
|
wiki |
9) figures |
representationality |
To what extent does
the image show “things” we can identify? |
http://www.sheilaomalley.com/archives/norman1.jpg vs. http://maryadamart.com/Images/Picasso_Guitar_Player_1910_artchive_40pc.jpg |
|
|
wiki |
|
abstraction |
How realistic are
the things? |
https://s-media-cache-ak0.pinimg.com/originals/47/1e/ab/471eabb12093bfdd3045a6ebe22d824b.jpg
vs. http://lh3.ggpht.com/__dzIty4-hYI/SW0CH5ACkMI/AAAAAAAABYI/4AtBJ6j-Wlk/bone3.jpg |
|
|
wiki |
|
self-referentiality |
Do the brushstrokes
or lines or photographic artifacts call attention to themselves? |
http://www.artyfactory.com/art_appreciation/art_movements/art%20movements/impressionism/van_gogh.jpg http://i.dailymail.co.uk/i/pix/2012/04/18/article-0-12A627DB000005DC-631_964x629.jpg
|
|
|
|
10) genre |
style |
Does the image fit
into a particular “ism”? |
http://www.ibiblio.org/wm/paint/auth/monet/waterlilies/monet.wl-green.jpg http://www.myfavoriteapple.com/wp-content/uploads/2011/12/iPodposter.jpg |
|
|
|
|
icons |
Are there key
symbols or characters that call to mind a narrative or genre? |
http://2.bp.blogspot.com/-N89pY7Xzi9w/T7k-LDueeuI/AAAAAAAABhw/jFkiL7bDP60/s1600/Picture%2B1.png
|
|
|
type |
1) stroke-height
ratio |
How thick are the
lines in the type in comparison to the height of the letters? |
http://www.designfreebies.org/wp-content/uploads/2009/04/typeface-ratio.jpg |
||
|
e |
2) stoke weight |
How varied are the
weights of the different strokes? (What are the thickness differences between
various marks in a letter?) |
http://www.jean-mcintosh.com/009/images/transitional_stroke-width.gif
|
||
|
|
3) style |
Bold? |
|
http://www.tradebit.com/usr/fonts-shop/pub/9002/8620FuturaExtraBold-typography12252Pic.jpg |
|
|
|
|
Italic? |
|
||
|
|
|
Narrow? |
|
http://www.microsoft.com/typography/fonts/images/Arial-Narrow.png |
|
|
|
|
Condensed? |
|
||
|
|
|
All caps? |
|
||
|
e |
4) x-height |
What is the ratio of
the height of the letter x to the height of the ascenders
(the upstoke in a d or band descenders (the downstroke in
a p or q)? |
|||
|
e |
5) counters |
hmnu (aperture) |
How do these
bowl-like spaces relate to each other in the typeface and how do they relate
to other faces? |
Compare http://thetubesareclogged.files.wordpress.com/2010/01/times-new-roman-bold_big.jpg withhttp://www.microsoft.com/typography/fonts/images/Bookman-Old-Style.png |
|
|
e |
|
bdpg |
How do these enclosed
spaces relate to each other in the typeface and how do they relate to other
faces? |
In
most fonts they are all the same. But look at this: http://font.downloadatoz.com/download/imgs/p/r/i/Pricedown-lower.png |
|
|
|
6) emphasis |
Color? |
|
http://reihesieben.de/wp-content/uploads/2011/02/scream-4poster.jpg |
|
|
|
|
Underlining? |
|
http://islandeat.files.wordpress.com/2010/11/crabbie-alcoholic-ginger-beer-ad-10-10.jpg |
|
|
|
|
Animated? |
|
http://www.webdesign.org/img_articles/13108/anim_text_16.gif |
|
|
e |
7) family |
script |
Approximating
handwriting |
http://www.myfonts.com/images/email-content/sp-200511/sloop_big.gif |
|
|
e |
|
serif |
Lines to link the
reading of letters. |
http://www.type.co.uk/images/imgs/organonseriffamimage560_665.gif |
|
|
e |
|
sans serif |
Without serifs. |
||
|
e |
|
novelty |
Created for a
specific effect but hard-to-read. |
http://www.fontriver.com/i/fonts/avengeance_heroic_avenger/avengeance_heroic_avenger_specimen.jpg |
|
|
e |
8) spacing |
tracking |
Spaces between
letters along a line of text (manipulated relatively evenly) |
http://7.mshcdn.com/wp-content/uploads/2011/11/500px-Tracking_vs_Kerning-wikimedia.jpg http://school.tatoland.com/illustrator/pix/letterspacing.gif http://mistyhilltops.com/wp-content/gallery/kerning-tracking/110405-BTS-Kerning-Tracking.jpg
|
|
|
e |
|
kerning |
Spacing between two
letters (often different between different kinds of letters). |
||
|
e |
|
leading |
Spacing between
lines of text. |
http://babynounce.com/blog/wp-content/uploads/2009/03/leading.gif |
|
|
e |
9) family |
What historical
grouping does the font belong to and how typical is it or that grouping? |
Old style,
transitional, humanistic, modern, gothic, Bauhaus, etc.: http://www.jean-mcintosh.com/dmis004/type1.html |
||
|
|
10) legibility |
The font itself |
|
http://aycanarinva301.files.wordpress.com/2010/10/yale11.gif?w=300&h=200&h=200 |
|
|
|
|
Copy issues |
|
||
|
|
|
|
|
|
|
|
a=Corbett, E.
(1971). Classical rhetoric for the modern student. NY:
Oxford. b=Burton, G.
(2007). Silva rhetoricae. http://humanities.byu.edu/rhetoric/silva.htm. c=Rose, G.
(2001). Visual methodologies. London: Sage. d=Phillips, W.
(1999). Film: An introduction. Boston: Bedford. E= n.a. (n.d.). Typographer’s
glossary. http://www.fontshop.com/glossary/. |
|||||
