Blog Two, Unit Two: Reading Analysis

            In Writing Arguments, the authors base many points around “the core of an argument”. This core, or piece of an argument, is the element that sets up the persuasion that by the end of the work will have garnered the intended response from the audience. Enthymeme was defined by Aristotle and is the word that refers to an audience’s ability to fill in the blanks using their preconceived ideas (75). Thus, an author tells readers what his intent is and the readers will impose their own beliefs into the argument. The author hopes that his argument will in effect, speak for itself, but it also relies on the intelligence of the audience and their preconceive notions for further support (75).

 In order to set up an audience to believe in a position, the writer must employ different methods to support enthymeme. The Toulmin System is an example of this. Once an audience is on board to believe an argument the author can then use different methods to relate factual data and concrete evidence to further solidify an argument with readers (89). The STAR method can be used to make sure that criteria for a strong set of supporting facts are presented (89). STAR stands for: sufficiency, typicality, accuracy, and relevance (89). It is also important to make sure that data comes from reputable sources and to be aware of biases and other influencing factors when citing sources for an argument (91). These areas are representative of logos.

I feel that it is ethos and pathos; however, that can really move a audience. While it is important to have accurate data and facts, humans are an emotional creature and thus are swayed by emotion and personal stories. That is why it is very important to include ethos and pathos in an argumentative paper.

Ramage, John D., John C. Bean, and June Johnson. Writing Arguments: A Rhetoric with Readings. 8^th Ed. New York: Longman, 2010.

L to the P to the E

The triad of logos, pathos and ethos is commonly what I use to write. Until lately, I did not know there were specific terms for the elements that can be used to present an argument. I tend not to employ ethos in my writing. This is not so much because I don’t think it is an effective method of argument—it is probably the most persuasive method; however, it seems in many college level courses, it is more beneficial in writing to include facts, charts and data to support an argument. Yet, in several courses, I have been advised to insert my opinions more frequently. I would like to somehow find the balance of proportions to use in the logo-pathos-ethos triangle.

            Many times, in my opening paragraph I will relate a story or anecdote that draws the reader into the paper. By using pathos in this way, a writer can generate interest or even excitement within it. Once the reader’s attention is gained, using descriptions such as metaphors, visual aids, and setting up the connotation of the argument can be used to further draw in an audience. By using word clues (negative or positively connotating words) a general idea of what side of the issue the paper supports can be relayed (115).  Oftentimes, ethos is a natural byproduct of this—it is easy to convey ethos in narratives.

            Within the body of the argument, factual data, charts, and statistics can be interwoven into the piece, thus solidifying the stance of the writer against one side or the other. Though the facts will not (or cannot) be changed, the way they are presented with pathos and ethos can sway an audience's reaction to them in one way or the other. This is a sign of a successful writer: to be able to present an argument that is based on data that can be supported (logos), but at the same time causing a readers opinion to strengthen or even change (through the use of pathos and ethos)—to be persuaded!

Ramage, John D., John C. Bean, and June Johnson. Writing Arguments: A Rhetoric with Readings. 8^th Ed. New York: Longman, 2010. Print.

A Little about Argumentative Writing

Argumentative writing, according to Ramage, Bean and Johnson in Writing Arguments, must be comprised of two equally important components: “(1) a set of two or more conflicting assertions and (2) the attempt to resolve the conflict through an appeal to reason” (11). While the first portion of the argument comes as no surprise, I was unaware that a solution to the argument should be offered to readers. I have always been one to voice my opinion; but sometimes I do not solidify my viewpoints with an alternate proposal as the authors of Writing Arguments suggest. I find it much easier—as do most people, I imagine—to simply state my argument followed by reasonable talking points as to why it is a valid stance; but proposing an entirely different solution to an argument is not something I felt was a necessary step prior to my reading the text for this particular unit. Perhaps this is attributed to my somewhat passive attitude as a “follower.” I am quite content to voice my opinion and let others take the lead in the latter part of the debate.

I am highly interested in what Ramage, Bean and Johnson refer to as “truth seeking” (13); less so in “persuasion” (13). Thus, my writing tends to be less biased and more along the lines of exculpatory argumentation. My writing seems to focus more on Logos and Ethos, rather than the emotionally charged Pathos style of argument. I tend to leave my opinions and emotion out of writing, giving attention towards the facts in question, and relying on my credibility to convey my message rather than an appeal to readers’ emotions (Ramage, Bean, and Johnson 62).

In the conclusion of Chapter 1, the authors reiterate their position on writing for both of the above mentioned reasons (23). Hopefully, I will be able to take their suggestions and by incorporating a bit of emotional appeal into my work, I can achieve a persuasive stance. The ability to persuade a reader—or better yet, to move a reader to action is a fundamental reason for writing.

Ramage, John D., John C. Bean, and June Johnson. Writing Arguments: A Rhetoric with Readings. 8^th Ed. New York: Longman, 2010.