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Aristotle rhetoric book 2 summary

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Class Business Let's check again to make sure everyone is accounted for... Is this the right list? Reading Date Leader (s) 2/16 St. Augustine, On the Christian Rhetoric of Pamela 2/23 Descartes, Discourse by Joey 3/1 Bart, Mythology Benjamin 3/15 Bart, Ellen's Element of Semilogy 3/22 Nietzsche, The use and abuse of the history of Melanie 3/29 Derrida, Positions Gifty and Kadi 4/5 Lyotard, Postmodern State Lydia 4/12 Baudrillard,

Simulakra and modeling Heidegger, the question concerning the technology of Kendra Aisha 4/19 Jameson, the postmodern state of Tony Seems I asked Mudla not to do so. Aristotle on Rhetoric, Book 2 aristotle Highlights Book 2 moves us into a discussion about the means of persuasion, and Aristotle continues as a great organizer and catalogs how to use and what to use when delivering oratory. Book 2 seems to me to focus on

the way to demonstrate/delivering arguments, but it also gives an insight into Aristotle's views of government (democracy, tyranny, politics) and its elitism. Notice how often education comes in, how important it is for citizens. As our friend Kennedy points out, this section is one of the earliest systematic discussions about human psychology (p. 113-2). We don't have to follow the list below, but I suggest these categories as topics to

consider. Audience Location Emotion Probability Topics Youth Behavior Topics consider the location of the audience: Friendly vs. Calm (2.1.4, Kennedy p. 112) Internet People tend to be bad (2.5.7, Kennedy p. 129) Online-down 3 lines Logical demonstration: And people are afraid of those who seem to cause fear) for others who are stronger than they; for they could do them more harm if they could even harm those who are stronger

(2.5.10, Kennedy p. 129) Online-down 11 lines of Shame (2.6.14, Kennedy p. 134) Justice and Revenge (2.9.4, Kennedy p. 142) What assumptions should be believed the following: ... for example, no good man would be upset when parricids and bloodthirsty murderers face punishment? Online up to 5 lines Emotions: Emotions (way) are the things through which, having changed, people come to differ in their judgments and which are

accompanied by pain or pleasure, such as anger, pity, fear and other similar things and their opposites. (2.1.8, Kennedy p. 113) Online-bottom pair. Odds: (2.20.24, Kennedy p. 160) Online-bottom pair. Topics: (2.23.1-30, Kennedy p. 172-184) Online-bottom pair. Education: (2.6.17, Kennedy p. 134) (2.8.4, Kennedy p. 139) Youth Behavior: (2.12.3, Kennedy p. 149) Online Lower Couple. Contrast with the old... (2.13.1, Kennedy page

151-152) Contrast with those in their prime ... What else can we discuss? A few terms to know the following list is not exhaustive, just introductory. The terms below are basic terms for rhetoric: one's character pathos: appeal to emotion logos: appeal to the mind or logic of eidos: specific themes. idiai: concrete evidence of koina: common features (Kennedy, p. 50) pistis (pisteis, pl): proof of telos: purpose, end of topos: a place where

the speaker can seek available means of persuasion. Note: in modern use, topoi has come to mean commnplaces Forge Ahead on Book 3 about rhetoric We can refer to Books 1 and 2 next week, but the focus will be book 3. Remember that this reading should be beneficial to critical thinking - just like topoi, critical thinking is not specific to any one discipline. Aristotle Rhetoric Book Two Sketches 2.1.1-11 (1377b-1388b) Ethical and

Pathetic Evidence 2.1.1-9 (1377b-1378a) General Discussion Ethos 2.1.1 Object Rhetoric Is Decision 2.1.2 Character Speaker, Speaker important for the deliberative oratorical judgment of the judge, more important for the forensic oratory art 2.1.5-7 Three qualities necessary for persuasion: the virtue of common sense 2.1.8-9 The definition of emotion emotions Emotions are all those attachments that force men to change their minds

regarding their judgments, and are accompanied by pleasure and pain. 2.2-11 (1378a-1388b) §¬§Ñ§ä§Ñ§Ý§à§Ô §ï§ä§Ú§é§Ö§ã§Ü§Ú§ç / §±§Ñ§ä§Ö§ä§Ú§é§ß§í§Ö §¥§à§Ü§Ñ§Ù§Ñ§ä§Ö§Ý§î§ã§ä§Ó§Ñ 2.2-3 (1378a-1380b) §¤§ß§Ö§Ó §Ú §Þ§ñ§Ô§Ü§à§ã§ä§î 2.2 §¡§ß§Ñ§Ý§Ú§Ù §Ô§ß§Ö§Ó§Ñ §°§á§â§Ö§Õ§Ö§Ý§Ö§ß§Ú§Ö §¯§Ö§Ù§ß§Ñ§é§Ú§ä§Ö§Ý§î§ß§í§Ö §â§Ñ§ã§á§à§â§ñ§Ø§Ö§ß§Ú§ñ §ä§Ö§ç, §Ó§í§Ù§Ó§Ñ§Ý §Ô§ß§Ö§Ó §°§Ò§ì§Ö§Ü§ä§í §Ô§ß§Ö§Ó§Ñ 2.3 §¡§ß§Ñ§Ý§Ú§Ù §Þ§ñ§Ô§Ü§à§ã§ä§Ú (§ß§Ñ§á§â§à§ä§Ú§Ó §Ô§ß§Ö§Ó§Ñ) §°§á§â§Ö§Õ§Ö§Ý§Ö§ß§Ú§Ö §¯§Ñ§á§â§à§ä§Ú§Ó §ß§Ö§Ù§ß§Ñ§é§Ú§ä§Ö§Ý§î§ß§í§ç 2.4 (1381a-1382a) §­§ð§Ò§à§Ó§î §Ú §ß§Ö§ß§Ñ§Ó§Ú§ã§ä§î 2.5 (1382a-1383b)

§³§ä§â§Ñ§ç §Ú §å§Ó§Ö§â§Ö§ß§ß§à§ã§ä§î 2.6 (1383b-1385a) §³§ä§í§Õ §Ú §¢§Ö§ã§ã§ä§í§Ø§Ú§Ö 2.7 (1385a-b) §¢§Ý§Ñ§Ô§à§Õ§Ñ§â§ß§à§ã§ä§î §Ú §Ö§Ö §à§ä§ã§å§ä§ã§ä§Ó§Ú§Ö 2.8-9 (1385b-1385b388a) §Ø§Ñ§Ý§à§ã§ä§î §Ú §ß§Ö§Ô§à§Õ§à§Ó§Ñ§ß§Ú§Ö 2.10 (1388a) §©§Ñ§Ó§Ú§ã§ä§î 2.11 (1388b) §¿§Þ§å§Ý§ñ§è§Ú§ñ 2.12-17 (1389a-1391b) §¬§Ñ§ä§Ñ§Ý§à§Ô §á§Ö§â§ã§à§ß§Ñ§Ø§Ö§Û 2.12-14 (1389a-1390b) §£§à§Ù§â§Ñ§ã§ä§í §®§à§Ý§à§Õ§Ö§Ø§ß§Ñ§ñ §³§ä§Ñ§â§à§ã§ä§î §±§â§Ñ§Û§Þ §Ø§Ú§Ù§ß§Ú 2.14 (1389a-1390b) §£§à§Ù§â§Ñ§ã§ä§í §³§ä§Ñ§â§í§Û §Ó§Ö§Ü §±§â§Ñ§Û§Þ §Ø§Ú§Ù§ß§Ú 2.1415-17 (1390b-1391b) §¶§à§â§ä§å§ß§í

§¢§Ý§Ñ§Ô§à§â§à§Õ§ß§à§Ö §â§à§Ø§Õ§Ö§ß§Ú§Ö §¢§à§Ô§Ñ§ä§ã§ä§Ó§à §Õ§Ö§â§Ø§Ñ§Ó§í 2.18-26 (1391b-1403b) §­§à§Ô§Ú§é§Ö§ã§Ü§Ú§Ö §Õ§à§Ü§Ñ§Ù§Ñ§ä§Ö§Ý§î§ã§ä§Ó§Ñ 2.18-19 (1391b-1393a) §¬§Ñ§ä§Ñ§Ý§à§Ô §à§Ò§ë§Ú§ç §Ú§Ý§Ú §à§Ò§ë§Ú§ç §ä§Ö§Þ 2.18 §±§Ö§â§Ö§ç§à§Õ§ß§à§Ö §â§Ö§Ù§ð§Þ§Ö 2.19. 1-15 (1391b-1392b) Possible/Impossible (Deliberative) Opposites Degree (difficulty; best practices) Consistency that we desire subjects of science or art Things whose means of production is within our power Parts and whole Genus and species

Natural correspondence (quantity) Compare against. Cunning Lower vs. Chief 2.19.15-25 (1392b-1393a) Past Fact /Future Fact (Forensic Examination) Less likely, the ability and motive of The Antecedence's intentions and consequences (and so for the future) 2.19.26-27 Magnitude (Epidey)... since in each branch of rhetoric the end set before him is good, such as expedient, noble or simple, it is obvious that everyone should take

from them amplification materials. (2.19.27) 2.20-22 (1393a-1397a) Inductive and deductive evidence 2.20 Examples of Historical Examples of Fables 2.21 2. 22 Enthymemes in total 2.23-26 (1397a-1403b) Catalogue Enthymemes Topics Enthymemes Obvious rebuttal Enthymemes Non-Enthymemes As Politics, Politics, Poetry continues to be a staple of academic study. At the same time, it also requires context, as genres of

literature have expanded and evolved in many ways. Aristotle refers to the principles of creative writing in general, but his focus is on tragedy (probably, the parallel treatment of comedy was lost). Although he views the epic in some depth, he pays little attention to lyrical poetry. Most likely, he believed that this study refers to the theory of music, although for us the term poetics, as you would expect from similar cases of physics and

psychology, is misleading. Aristotle establishes early on that with creative writing and perhaps art in general, our concern should be with form, not purpose. He is not interested in didacticism, but poetry as mimesis (representation). He then lists the characteristics of the tragedy, usually referring to Oedipal as his favorite example. Aristotle's approach was clearly scientific, and for modern readers it may seem ridiculous for such a

subjective field. He used some form of scientific method, studying a large number of plays and drawing generalizations from his evidence. Its definition of tragedy may be of paramount importance: Tragedy is an idea of an action that is serious, complete in itself and has a certain limited length; it is expressed in speech decorated in different ways in different parts of the game; It acts not just read; and by thrilling pity and fear he

produced relief from such emotions. In some ways this definition is very comprehensive because it explains some of the greatest plays of the Aristotle era. On the other hand, any definition that tries to be so specific necessarily excludes cases that are traditionally considered appropriate for a particular term. Many plays of that time would offer us grounds for protest, not to mention Shakespeare's works, which often depart from these

strict principles. Aristotle continues his scientific analysis of the tragedy, dividing it into the following elements: plot, character, diction, thought, song and spectacle. Of the six, the plot is undoubtedly the most important, since he drives to play Aristotle firmly believed that the character itself was not enough to make a tragedy. He then separates the plot elements and demonstrates what constitutes a violent tragedy. The two most

important of these are reversals and recognition. A reversal occurs when a key action designed to produce a single result actually results in its opposite. Aristotle's example is when the messenger comes to Oedipus to relieve his worries, but in the act of revelation actually reveals information that will lead to the fall of Oedipus. Recognition involves a change from ignorance to understanding, and the final climax of the tragedy comes

when the recognition and reversal coincide. and in the case of poetry, Aristotle treats rhetoric as a science, although it's not One. He believes that his research is important for a number of reasons: it can help in the protection of truth and justice; it can convince a less intelligent audience that does not understand the intellectual demonstration; and this ensures that both parties are considered. There are three factors that contribute to

the rhetoric: the personal character of the speaker, the mood he evokes in the hall, and the arguments themselves. Its main tools of reasoning are example and enthymeme (an argument that can be logically reduced to sillogism). Aristotle continues to add controversy, with the use of rhetoric falling into three branches: that of the political assembly, the courts, and the ceremonial case. The rest of the work consists of further

disagreements and categories, as well as methods of maximizing the effect of their rhetoric. It also includes a list of nine types of false reasoning, such as generalization from a single instance or reversing the premise of reaching a false conclusion (e.g., all young people are immature. X is a young man. So X is immature.). Both rhetoric and poetry have had a lasting impact. Many still consider his rhetoric useful as a guide for

speakers, while his poetry is in many ways the basis of literary criticism. While many specific areas are inevitably and long out of date, many of Aristotle's general principles continue to underpin even contemporary works. It's working.

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