Note: Supplemental materials are not guaranteed with Rental or Used book purchases.
Purchase Benefits
What is included with this book?
Purposes of this book | p. iii |
The conceptual shape of this book | p. iv |
Brief contents | p. v |
Acknowledgments | p. xiv |
Introduction | p. 1 |
Designing compositions rhetorically | p. 17 |
Throughout this book you'll see "argument" | p. 18 |
A rhetorical process for designing compositions | p. 23 |
[Assignments] thinking through production | p. 31 |
Laying out a design plan | p. 33 |
Developing a statement of purpose | |
Sense of purpose | p. 34 |
Audience | p. 36 |
Context | p. 38 |
Statement of purpose | p. 40 |
Producing a composition | |
Strategies | p. 42 |
Medium | p. 44 |
Arrangement | p. 46 |
Production | p. 48 |
Testing | p. 50 |
A sample design plan | p. 52 |
[Assignments] thinking through production | p. 55 |
Developing a (more complex) statement of purpose | p. 57 |
[Assignments] thinking through production | p. 58 |
Working with more complex communications | p. 61 |
Developing a more complex & complete statement of purpose | |
Sense of purpose | p. 67 |
Audience | p. 69 |
Context | p. 74 |
Statement of purpose | p. 76 |
Producing a (more complex) composition | p. 79 |
Producing more complex compositions | |
Strategies | p. 80 |
Medium | p. 86 |
Arrangement | p. 90 |
Production | p. 97 |
Testing | p. 99 |
Design plans | p. 106 |
Producing compositions | p. 109 |
Contexts for Production | |
About advocacy and argument | p. 111 |
Becoming an advocate | p. 112 |
Who changes and who benefits when you advocate? | p. 113 |
The time that advocacy requires | p. 114 |
Styles of advocacy: The AVODAH Website "After Seattle: Anarchists Get Organized." | p. 115 |
Being an advocate, being a citizen, and being a critic: "The Partly Cloudy Patriot." Sarah Vowell | p. 133 |
[Assignments] thinking through production | p. 141 |
Researching for advocacy and argument | p. 143 |
Research, argument, and advocacy | p. 144 |
What research is the ethics of being a researcher | |
Designing rhetorical research | p. 146 |
Developing an initial question | |
Using the questions to determine what you need to research | |
Carrying out your research | |
Using your research to develop and test a design plan | |
Producing and testing your communication | |
[Assignments] thinking through production | p. 175 |
Strategies for Production | |
What differentiates these modes of communication | p. 178 |
[Assignments] thinking through production | p. 180 |
About written modes of communication | p. 181 |
The pleasures of writing | p. 182 |
Finding your own | |
How writing grows out of and in response to and sustains other writing | |
The Declaration of Independence | |
The contexts, audiences, and purposes of writing | p. 188 |
Writing contexts | |
Writing audiences | |
Writing purposes | |
Ethos, logos, and pathos as writing strategies | p. 191 |
Ethos in writing | p. 192 |
Factors contributing to ethos | |
Building ethos in introductions to written compositions | |
Logos in writing | p. 198 |
Logos as overall structure | |
Smaller arguments to use for building larger arguments | |
Logos in helping others follow your arguments | |
Logos as word play | |
Pathos in writing | p. 209 |
The written strategies of revising, editing, and proofreading | p. 213 |
Testing writing | p. 219 |
Responding to the writing of others | |
[Assignments] thinking through production | p. 222 |
About oral modes of communication | p. 223 |
The pleasures of speaking | p. 224 |
On listening | p. 225 |
Preparing a talk: context, audience, purpose | p. 227 |
The contexts in which you speak | |
Considering audiences as you plan | |
Approaching purposes as you plan | |
"Inviting Transformation." Sonja K. Foss and Karen A. Foss | |
Speaking ethos, logos, and pathos | p. 238 |
Ethos as speaking strategy | |
Pathos as speaking strategy | |
Logos as speaking strategy | |
"Constructing Connections." Sonja K. Foss and Karen A. Foss | |
A checklist for preparing a design plan for a talk | p. 251 |
Preparing (yourself) to talk | p. 252 |
The anxieties of public speaking | |
Visualization: preparing to deliver a talk | |
Delivery: wording, gestures, smells | |
Delivery: using support materials | |
Interviewing | p. 256 |
Rules for effective interviews | |
Testing and evaluating oral presentations | p. 259 |
Ethical contexts of speaking-and listening | p. 260 |
[Assignments] thinking through production | p. 261 |
About visual modes of communication | p. 263 |
The pleasures-and complexities-of visual communication | p. 264 |
The contexts, purposes, and audiences of visual communication | p. 266 |
Visible contexts | |
Visible audiences | |
Visible purposes | |
Seeing ethos, pathos, and logos | p. 270 |
Seeing ethos | p. 271 |
Photographing ethos | |
A professional ethos | |
Seeing pathos | p. 274 |
Pathos in photographs | |
The rhetorical colors of pathos | |
The pathos of type | |
Seeing logos in the arrangement of elements | p. 285 |
How many elements to include? | |
Creating a visual hierarchy... | |
Creating a visual hierarchy by using contrast and sameness | |
Creating visual unity using repetition | |
The logos of type arrangement | p. 295 |
The logos of using words and pictures together | p. 301 |
Strategies for analyzing and producing visual arguments | p. 305 |
Visual analogies | |
Visual accumulation | |
Visual symbols | |
[Assignments] thinking through production | p. 314 |
Analyzing the arguments of others | p. 315 |
Why are we analyzing and researching the arguments of others? | p. 316 |
About the examples | p. 318 |
About rhetorical analysis | p. 320 |
Writing up rhetorical analysis | p. 323 |
A sample rhetorical analysis: "Attack of the Monster Movie Poster" | p. 324 |
[Assignments] thinking through production | p. 327 |
Analyzing posters | p. 329 |
How we analyze posters | |
Movie posters from the United States | |
Wartime posters from the United States and elsewhere | |
Movie posters from other countries | |
[Assignments] thinking through production | p. 344 |
Analyzing documentary photography | p. 347 |
How we analyze documentary photography | |
Sightwalk. Gueorgui Pinkhassov [Photograph Collection] | |
The Black Triangle. Josef Koudelka [Photograph Collection] | |
[Assignments] thinking through production | p. 377 |
Analyzing instruction sets | p. 381 |
How we analyze instruction sets | |
Japanese Onomatopoetic Expressions [Book Excerpt] | |
Nomadic Furniture [Book Excerpt] | |
Arabic Calligraphy [Book Excerpt] | |
Navy Semaphore Flag Code [Rotating Wheel] | |
A Fire Extinguisher [Product Box] | |
If ... then ... [Pamphlet] | |
If There Is an Explosion...[Web Page] | |
[Assignments] thinking through production | p. 397 |
Analyzing editorial & opinion pieces | p. 399 |
How we analyze editorial and opinion pieces | |
Native Education Boosted by Presence of Elders. Robert Baptiste [Webpage] | |
Who Would Call Warrior "Squaw"? E.J. Montini [Webpage] | |
The Case for Affirmative Action. Charles J. Ogletree, Jr. [Magazine Editorial] | |
The Case against Affirmative Action. David Sacks and Peter Thiel [Magazine Editorial] | |
Walking the Line. Jack Turner [Magazine Article] | |
[Assignments] thinking through production | p. 426 |
Analyzing essays | p. 427 |
How we analyze essays | |
How to Look at the Periodic Table. James Elkins [Book Chapter] | |
Higher Education. Gary Smith [Magazine Article] | |
A Marketable Wonder: Spelunking the American Imagination. Julian Dibbell [Webpages] | |
The Plaintiff Speaks. Clarissa T. Sligh [Book Chapter] | |
Red Shoes. Susan Griffin [Essay] | |
[Assignments] thinking through production | p. 508 |
Analyzing comics | p. 509 |
How we analyze comics | |
Leviathan. Peter Blegvad [Single-Pane Comic] | |
Common Scents. Lynda Barry [Graphic Essay] | |
The Veil. Marjane Satrapi [Graphic Novel Chapter] | |
[Assignments] thinking through production | p. 532 |
Credits | p. 533 |
Index | p. 537 |
This is an Online Chapter,@www.ablongman.com/wysocki analyzing interviews | |
How we analyze interviews | |
Jon Heder: Napoleon Dynamite | |
Two interviews with science fiction writer Neal Stephenson | |
Neal Stephenson's Past, Present, and Future - Neal Stephenson Responds with Wit and Humor | |
Four perspectives on copying digital media | |
Steve Jobs: The Rolling Stone Interview - RIAA victim talks to p2pnet | |
How Copyright Law Changed Hip Hop: An Interview with Public Enemy's Chuck D and Hank Shocklee | |
Lawrence Lessig: The "Dinosaurs" Are Taking Over | |
[Assignments] thinking through production | |
Table of Contents provided by Ingram. All Rights Reserved. |
The New copy of this book will include any supplemental materials advertised. Please check the title of the book to determine if it should include any access cards, study guides, lab manuals, CDs, etc.
The Used, Rental and eBook copies of this book are not guaranteed to include any supplemental materials. Typically, only the book itself is included. This is true even if the title states it includes any access cards, study guides, lab manuals, CDs, etc.