TOW #14: Pastor T's Penultimate Sermon (Written Text)

On her penultimate Sunday at our church, our pastor of more than ten years gave her sermon on the journey through life. It ties to the occasion given that she is entering a new stage of her own life (retirement), and the church is entering a new stage of its existence (searching for a new pastor). She seeks to aid us in the new leg of our journey with the reassurance that God has always provided instructions.

The most important rhetorical strategy she uses is beginning the sermon with an anecdote in which she describes her recent travel on an airplane. Humorously, she tells the story of how she paid an excessive amount to check her luggage when she could have red-tagged her bags for free and carried them herself to the next connecting flight. “Here’s the kicker,” she says, “ at the end of the trip, doing it this way, you don’t have to go to baggage claim and wait till your luggage comes spinning around on that ramp, then fight off rude people who hog the spaces next to the thing, so you have to say, ‘Excuse me can I get my bag,’ and there goes your bag for another trip around.” She knows the image of a pastor fighting off a self-important crowd of vacationers at a baggage claim is sure to humanize her. Oftentimes preachers are seen as stuffy or more pure in their thoughts than any other person. By presenting herself as a true human being who experiences the same baggage claim annoyances as everyone else, she makes her audience much more open to receiving her sermon as a lesson they can apply to their own lives, rather than just to the life of someone of elite moral character. 

This strategy is probably most effective in the present world, in which the new generations are moving away from the church. It appeals to emotion through humor rather than fear, as has been used by preachers of the past, which is significantly less intimidating. After such an introduction, when she says that God is not like an airline and provides fairly detailed instructions, her audience will be prepared to hear her out.

TOW #13: Facial Blindness (Written Text)

Facial recognition is a skill most of us have had since birth, a skill, given its commonplace nature, that we often take for granted. However, for some, this ability would seem completely foreign. Kate Szell, a former partner in a law firm, recently won a science writing contest on the subject of prosopagnosia, a condition that makes it extremely difficult for a person to recognize faces. She aims to spread awareness and foster an environment of understanding for those suffering from the condition.

As even our smartphones are learning to recognize faces, it is difficult to imagine a world without such an ability. That’s why Szell, in her piece, rather than overburdening her audience with scientific terms, offers an analogy so that they might understand how it feels to suffer from prosopagnosia. She suggests to her audience to try recognizing people by their hands rather than their faces (paragraph 2). Through this, it becomes easy for a reader to perceive the difficulty. If faces appeared as similar to us as hands, it would certainly be tough to differentiate between people.

To compound the level of understanding obtained through the analogy, Szell also offers insight from a person who suffers from the condition. A fourteen-year-old girl tells about how she once asked her best friend of many years who she was. “[S]he’d had a haircut, so how was I to know?” (paragraph 1). The testimony gives her credibility on a personal level and makes her reader feel sympathy for those suffering from prosopagnosia. A simple level of emotional connection to a real case of the condition facilitates the level of acceptance and patience Szell hopes to achieve.

Beyond personal testimony, Szell provides the logical appeal through facts she has collected and expert testimony to the reality of the issue. According to studies, she writes, around two percent of the population has prosopagnosia (paragraph 3). While the percentage seems small, it is not. Out of every fifty people, one has prosopagnosia. Such as statistic helps her audience to see how vital understanding is. Most people interact with at least fifty people in their lives, so awareness of the condition should be much more widespread than it is. As she, a former partner in a law firm, is not an expert in the subject, she references professionals to give her cause credibility as well. Researcher Kirsten Dalrymple from the University of Minnesota makes known that in her studies, while some children with the condition cope with their condition, others become withdrawn. Some cannot differentiate between friends and strangers and put themselves at risk (paragraph 4). Through Dalrymple, Szell thus indicates the importance of awareness for parents, teachers, and other children.

Kate Szell’s contest-winning essay certainly takes the prize for helping people to, in her own words, “recognize the face of prosopagnosia” (paragraph 10).

http://www.theguardian.com/science/2014/nov/23/faceblindness-prosopagnosia-kate-szell-wellcome-trust-science-writing-prize-face-blindness

TOW #12: The American Patriot's Handbook (IRB #2, Part 1)

Recently I have been reading The American Patriot’s Handbook, a compilation of American historical documents arranged by George Grant. Grant is a proud patriot and a pastor at the Parish Presbyterian Church in Tennessee. Thus, I made the prediction before reading that the documents he compiled would be largely positive about America’s history, and that they would reflect the progression of American religious views. His purpose would then be to guide Americans to be proud of their country.

So far, the documents have reflected the ideas I predicted they would. One way Grant ensures that his audience will get the message he aims for them to receive is through giving each document a brief description, in which he often applies logical reasons as to why America is great. For example, in his description of The Mayflower Contract , he strategically places one significant line immediately before the document: “Thus the Pilgrim Fathers had anticipated the covenantal social contract seventy years before John Locke and 140 years before Jean Jacques Rousseau” (7). This asserts to the reader, through apparent fact or logical evidence, that Americans had developed the social contract theory before the Old World, thus making Americans superior. Though that last claim seems far-fetched, in the fleeting moment after reading the statement, there is some American pride evoked that makes one glad to be American rather than European. It is thus significant that this is immediately followed by the text itself. The last idea an American has before reading the document is that it had made them better, more democratic, more socially intellectual, than Europe.

Another way Grant ensures that his purpose is achieved is through his own descriptions of significant American figures. For about sixty pages, there are no documents, but rather descriptions of Americans written by Grant himself. The texts are factual, giving Grant support through rationality as to why one should be proud to be an American without ever directly stating it. However, he derives his support only from selected evidence, carefully omitting any fact that would break his logos. For example, in his description of John Jay, he hails the Jay treaty as having helped to “avert a renewal of hostilities with Britain” (156), but fails to acknowledge that the treaty was sabotaged by another founder, Alexander Hamilton, and that the treaty consisted predominantly of sly promises from Britain, such as that they would pay for recent impressments of Americans, but said nothing of future impressment. Such evidence would undermine presentation of early American strength.

For any American audience that is somewhat uninformed about the ins and outs of American history, Grant is likely successful in increasing their patriotism.

TOW #11: Run Like an Animal (Visual Text)

Pearl Izumi, a running gear company known for their controversial advertisements, has used the slogan “Run like an animal” to define a true runner. On one ad for their shoes, they stated in bold white font that a marathon is “a race to be run, not a box to be checked.” Though perhaps not as controversial as their previous “dead dog” ad, in which the man in their shoes apparently ran his dog to death, this one still employs powerful, inspiring rhetoric. 

The ad uses a black and white image of a road race as the background to their ad, displaying the blurred, fast-moving legs of competitors. The color scheme makes the photo appear old and the marathon appear as a timeless event that deserves the average runner’s ultimate respect. This pairs well with the small text on top of the image, which presents a certain group of people who run marathons as “finishers” as opposed to racers. Finishing, they say, is good, but racing is the purpose of a marathon. So “next time you’re toeing the line, respect the marathon.” For some viewers of the ad, this would command respect. Probably, for the dedicated running community they aim to reach, the words would be inspiring. Most coaches tell their runners that they are not there to run, but rather to race. Most dedicated runners know the difference between the terms. However, for some marathon “finishers,” the message could be offensive, as it undermines the achievement of merely completing the 26.2 miles. In this way, Pearl Izumi holds true to their typical style of advertising. A slight air of controversy perhaps makes the loyal customers all the more loyal through their pride, even if it alienates some others.

To stand boldly in front of the black and white background and primarily white text, the ad uses red as an accent. The shoes have red highlights, which, given their position before the racing legs, makes them appear to be the elite of the many other shoes seen racing by, just like the audience Pearl Izumi aims to reach. Additionally, their slogan, “Run like an animal” is written in bright red text at the end of their paragraph-long description of finishers versus racers. Combined with the rest of the text, this stands out as the primary message. To respect the marathon, one must race to their fullest capacity, delving into their animalistic instincts to make themselves more than human. The words command a certain power and inspire the true racing community, making them effective as a method to convince runners to buy Pearl Izumi running shoes.

TOW #10: Feminism and Murder (Written Text)

As a female, I hear feminism mentioned frequently in conversation with fellow females, some of whom have rather extreme views on the subject. Concerningly, it seems to have become, for some, less about equality and more about female superiority. The Onion recently published an article that, through hyperbole and juxtaposition, mocks the idea of feminist extremism and highlights the true meaning of being a feminist. A reader of The Onion would likely be looking for a comedic mockery, and this piece delivers while also bringing to light a very real issue in our society today.

The author of the piece, Katherine Adams, stated that she “simply cannot and will not support feminism if it means murdering all men” (paragraph 1). This statement exaggerates the extent to which extreme feminists take the issue. Though perhaps murder is not a typical suggestion for a solution, there was recently a video posted online of little girls swearing, saying such behavior is not tolerated, but the abuse of females is. A video like that twists the goals of feminism to attack all men, and allows for women to be rude, crude, or cruel under the umbrella cause of “feminism.” Where did the fight for equality go? What do potty-mouthed children have to do with equality in the workplace? How does crude language battle rape culture? The Onion’s article shows the ridiculousness of the extremist arguments by ironically presenting the apparently oppressed party (females) as the one ready to oppress another group.

Adams’s article also brings to light the true meaning of feminism, stating, “I agree with closing the pay gap, ensuring universal access to birth control, and ending the objectification of women” (paragraph 3), but to “hunt down all the world’s men and boys, load them onto trains bound for death camps, and systematically massacre them solely on the basis of their sex” (paragraph 3) is excessive. She juxtaposes the definition of feminism with a hyperbolic example of what extremists have made it, making the point that feminism as it used to be is much more reasonable than what it has become. She highlights the misuse of the word by associating it with extremism, in particular Nazi anti-Semitism. Again, this is an exaggeration, but it brings to light the danger of any type of extremism. While feminism at its root is a noble cause, the mass murder of all men is not. The world has condemned Germany for their actions under the Nazi regime, and by making a comparison of the two, Adams condemns extreme feminism.

This Onion article successfully promotes feminism as it is defined, while ridiculing feminism as some extremists have made it.

http://www.theonion.com/articles/i-dont-support-feminism-if-it-means-murdering-all,37301/

IRB Intro #2: The American Patriot's Handbook

The American Patriot's Handbook is a series of important documents in combination with profiles of American leaders who have shaped the country into what it is today. It was compiled and by George Grant, whose biography on the cover declares that he is a "proud patriot." I am not too concerned about the bias of someone with such strong feelings about the nation, as there are enough primary source documents that can speak for themselves. Even if Grant's patriotism leads him to present the American government in a strongly favorable light, it will be a good contrast for the writings of Howard Zinn, which we read in AP United States History. That said, the reason I am reading this book is to learn United States history through primary sources and prepare myself for an AP exam based largely on document-reading and analysis.

TOW #9: Berlin Wall Memoir (Written Text)

In recognition of the twenty-fifth anniversary of the fall of the Berlin Wall, I read a memoir by Mildred Raynolds Triver, a member of the occupying forces in the American sector of Berlin, in which she describes life in Berlin immediately before the wall went up in contrast with life thereafter. Triver published the piece in the Virginia Quarterly Review in 1981, about eight years before the Wall came down. Thus, she writes from the perspective of a person who could not believe it had gone up, and thereafter could not believe it would ever come down. Emotion permeates her well-organized piece as she expresses to fellow Americans the profundity of German division.

She begins her piece with an excerpt from her diary shortly after her arrival in Berlin in 1957. Triver writes of the Berliners:

“They share the same language, the same culture, the same church and, until recently, the same history. They have known together Berlin’s greatness when it was the capital of a world empire and they have suffered together the Allied bombing and the destruction and capture of the great city in the final days of Hitler’s War. They are Berliners, all, sharing a common pride in the past and sharing, each in its own way, in the suffering of a divided and unhappy present.” (¶2)

Trivers, thus, charges her piece emotionally from the beginning. Even before the wall was erected, she writes, the city was divided, one people in two worlds. The grief she transfers to her readers seeps from her pounding repetition of “the same.” The Berliners, East and West, are the same. Decades before the chant of “Wir sind ein Volk” or “Wir sind das Volk” would arise from the Monday Demonstrations, Triver expresses the common sentiment. It is profound that even an American citizen living in Berlin would feel so strongly that the Berliners are one, and having written of it so early on, Trivers is given credibility on the matter, despite not being a Berliner.

She continues on to describe East Berlin as “poor, neglected, row on row of bombed buildings that had neither been removed nor restored, and everywhere that gray, that sad anonymous look with which socialism manages to cover over what may once have had charm” (¶7). Again, pathos is her primary strategy to appeal. The haunting tone in enhanced by Triver’s choice of diction, in particular her description of the sad anonymity of the place. Trivers, in a few words, paints the picture of a depressing city, separated from its historical identity as the seat of great Prussian kings, and replaced with faceless socialism. Even as she writes in 1981, she does not seem to fear the Soviet threat, but rather to feel sympathy for those under its influence.

She ends the piece rather curiously, writing: “No one wanted war, certainly not the Berliners who kept saying at every crisis previous to the Wall, ‘Not war! For God’s sake, no war! Not for this city!’ And how could war have been avoided so long as soldiers barred the way?” (¶24). Such an ending can only spark in her readers a great sympathy for the Germans. They were done with fighting and wanted only peace, but peace gave them a wall. If Triver aimed to make her audience feel the presence of the Wall from America, she certainly achieved her goal.

http://www.vqronline.org/essay/berlin-wall-memoir

TOW #8 (The Anatomy of Revolution) (IRB 1 Part 2)

After now having read Crane Brinton’s The Anatomy of Revolution in its entirety, I feel rather more learned in the subject of revolutions than I was before picking it up. My goal in reading it was to be able to draw parallels amongst the revolutions Brinton discussed and others that we study in school, especially American conflicts that could be considered “revolutions,” as we cover those topics in AP United States History. I am now better prepared to do so.

It is rich in historical examples and primary source quotations, both of which help to establish Crane Brinton’s credibility, displaying extraordinary research. However, due to the many historical references, I felt almost as if I did not know enough to read the book. I have studied each of the revolutions he discussed in what I thought was great depth, aside from the Russian Revolution, which we covered only briefly in AP European History. Brinton quickly references, for example, the “knights’ fees, ship money, benevolences, Star Chamber, Court of High Commission…” (Brinton 240) in order to prove a further point. The terms are simply listed, not explained, and I spent the book rifling through my brain and my binder to assist my comprehension. Thus, it was a rather slow read for me, as I had to keep stopping. High school students were probably not an audience he sought to reach: he likely aimed to connect with fellow historians and professors through his work. In that he was successful, as I was delighted to see a section of the book I had recently read quoted in my AP United States History textbook.

Something I found interesting about the book was Brinton’s constant reference to the contemporary United States as he was writing it, and more so as he was revising it (the book was originally published in 1938 and revised in 1965). For example, he rather suddenly amidst an analysis of French philosophes brings up the assassination of Kennedy. He follows this, and most of his other interjections about present (for him) United States, with a reassurance: “Something that must exist in the social tensions, the class struggles of a society really on the eve of revolution, seems to be missing in the United States” (Brinton 59). It is almost as if he is trying to reassure contemporary readers that the United States will not have a revolution. Given the circumstances of the time, with the many student protests and race riots, it seems logical that he would write to reassure. It is interesting that this purpose, clearly not as much present in the original, was prominent in his second release of the book. While his purpose in publishing the original was to examine the similarities of revolutions, the second addition perhaps had this secondary agenda, an strange, yet logical idea to me.

TOW #7: Sherlock Season 3 (Visual Text)

A few months prior to the release of Sherlock season three, the BBC released a twenty-five-second teaser video. With nearly two years between seasons two and three, viewers could easily have forgotten about the show, or lost interest due to the long wait. However, with the release of even such a short trailer, the BBC restored interest and got their viewers excited for an all-new season of the popular detective show.

The color scheme in the beginning of the short clip includes mostly dark hues. The key characters of previous seasons are all shown in relative darkness, and Sherlock himself is a mere shadow behind a door, an orangey light emanating from somewhere behind him. The ominous lighting creates an air of mystery, suitable not only for the detective show, but also for the note on which the previous season ended: Sherlock’s apparent death. This is coupled with the Sherlock theme song, which begins quietly, adding to the effect. The haunting shadows leave much in the dark for the viewer, working as an effective teaser for the new season. The fact that Sherlock himself is shown as a shadow adds to the initial anticipation—is it really him? The light from behind gives him a god-like look, fitting for the idea of him returning from the dead. However, it is a mild irony that might be recognized by a fan of the show, as in the last episode of season two, he says, “Oh, I may be on the side of the angels, but don't think for one second that I am one of them.” Perhaps the choice of hellish orange for the backlighting is representative of the fine line he walks between angel and demon. Toward the end of the clip, paired with a crescendo in the music, the back of Sherlock’s head is revealed, and then in full light, his face, before the screen abruptly becomes black and the music stops. This affirms that Sherlock is indeed returned but little else, not answering the burning question of how he survived his fall from the top of a London building. The gradual rise in the tone of the music and then abrupt end contributes to suspense. Certainly, the clip effectively teases the audience, reinvigorating their interest in the show.

http://www.bbc.co.uk/programmes/p01dmmbj

TOW #6: A Modest Proposal (Written Text)

Jonathan Swift, an Anglican member of the Irish upper class in the eighteenth century and harsh critic of England’s exploitation of the Irish, wrote in 1729 “A Modest Proposal” to the British upper class. His caustically satirical piece is meant to bring to attention the shameful handling of the Irish poor.

The hyperbolic satire employed by Swift “humbly” proposes that to alleviate the burden of the plethora of impoverished Irish Catholics on the kingdom, the children of the poor, upon reaching a year of age, might be slaughtered as hogs and served as food to the wealthy. Though on the surface Swift’s tone is earnest, sarcastic undertones suggest that his proposal is by no means a serious one. Swift writes: “I grant this food will be somewhat dear, and therefore very proper for landlords, who, as they have already devoured most of the parents, seem to have the best title to the children” (Swift 7). Though topically logical, Swift is in truth pointing out that the landlords have ruthlessly taxed the lower classes to the point of extreme poverty, “devouring” their means of sustaining themselves. Swift’s satirical prose is successful, as he employs ethos, pathos, and logos, as one would do in a serious argument, in an ironic manner. He explains the logical benefits, such as a new dish, new income for the Irish poor that might be exploited by landlords, and a reduction in the Irish Catholic element. He additionally cites sources, which he claims are credible, to support his argument, including “the famous Psalmanazar” (Swift 9). This example, in fact, works to further his satirical criticism, as Psalmanazar was actually a famous imposter who convinced many church officials and nobles of cannibalism in Formosa. Pathos he appeals to with his claim that his proposal is rather charitable.

This aside, perhaps Swift’s most effective strategy is his usage of paralipsis, ending his piece by saying “let no man talk to me of other expedients…” (Swift 11), at which point he apparently dismisses many methods of aiding the Irish poor, such as by taxing the absentee landlords, or by rejecting many foreign luxuries in favor of those made at home. This part of his proposal brings to light Swift’s true opinions of how to deal with the poverty and greed by saying that they should not be addressed, ironically proposing cannibalism as a more viable solution.

TOW #5: "Tear Down This Wall!" (Written Text)

In April of 1987, US President Ronald Reagan visited Berlin for the second time in his presidency. His visit coincided with the 750th anniversary of the city of Berlin, as well as controversy over the stationing of short-range American missiles in Europe. In his iconic speech before the Brandenburg Gate, Reagan addressed his assembled West-German audience, as well as Eastern Europeans, who were permitted to view the broadcast. Aiming to promote democracy over the Soviet regime, he wholly capitalized upon the Berlin situation.

Reagan’s argument rests partly on logical appeal. Through a juxtaposition of “free” countries and the Soviet bloc, he highlights the comparative economic successes of those free nations over their communist counterparts. He speaks of “reduced tariffs, expanded free trade, lowered taxes,” of doubled standard of living, and of abundance in the West. To contrast, he notes that the Soviet Union still cannot produce enough food to sustain its people. This natural appeal of Western living is for his Eastern viewers. No government, totalitarian or otherwise, can stand without a body of citizens to rule; to feed its populace the promises of a better life under another administration is to erode that foundation. He additionally seeks the support of West-Berliners, establishing his credibility with reminders that it was the Americans, who following the closure of WWII, reached out to help Germany through the Marshall Plan. Though some Europeans doubted Reagan due to recent controversy over missiles, such a reminder demonstrates the United States as an ally not only of Germany, but of freedom. This last concept is used by the president for an emotional appeal. “Freedom leads to prosperity. Freedom replaces the ancient hatreds among the nations with comity and peace. Freedom is the victor.” In a world divided into two ideologies, the dividing line of which split the city of Berlin in two, the repetition of freedom and promise of peace would have reached a hope in the heart of West-Berliners, and a dream in the mind of the East, building support for Reagan and democracy which would power the passion with which the public would respond to the speech’s most famous line: “General Secretary Gorbachev, if you seek peace, if you seek prosperity for the Soviet Union and Eastern Europe, if you seek liberalization: Come here to this gate! Mr. Gorbachev, open this gate! Mr. Gorbachev, tear down this wall!”

Though Reagan’s words still remain profound twenty-seven years later, the Berlin Wall lasted just over two years following the speech. In Germany, October 3rd became a day to celebrate the country’s unity. This October 4th, I chose my TOW to observe the day, and to celebrate the reunification of a country I have grown to love next to my own.

TOW #4: The Anatomy of Revolution (IRB 1 Part 1)

In 1965, Crane Brinton, an American historian, published the revised and expanded version of his book, The Anatomy of Revolution for historians studying revolution and interested common readers. He examines the American, French, English, and Russian revolutions, analyzing their similarities to determine what makes a “revolution.”

His purpose, as directly stated in the introduction, is to find an “ideal type” for a revolution, though not necessarily what would be typical (Brinton 7). This vague purpose is clarified by the book. In the introduction, he notes that the scientific method of the natural sciences might be applied also to social sciences (Brinton 13). Thus, he is forming a series of hypotheses throughout, such as that revolutions generally begin with an old regime, which is faced with economic, political, and structural weaknesses (chapter 2). He then bolsters this claim with historical proof—ship money for the British, taxation without representation for the Americans, the economic disparity in France, and the financial costs of World War I in Russia display a poor economy as a common precursor—just as a natural scientist would amass experimental data in support of a hypothesis. Having read half of the book, I believe it to be his purpose to set out general parameters for what can be considered a revolution and to establish common characteristics, making his definition like a scientific theory, which is grounded in evidence, but subject to reconsideration and alteration. His logical, experiment-like structure helps him to achieve this goal.

Brinton uses historical quotations as well as detailed research to bolster his claims, with his primary appeal being to ethos. His writing is additionally heavy in metaphors, which makes the somewhat complex subject more logical for a reader to understand. For example, the metaphor for which the book is known is his comparison of a revolution to a fever (Brinton 16). This fever, he claims, is not entirely negative, but rather something that destroys bad germs (old regime), and leaves the organism (nation) stronger and healthier than before. Due to their clarification of the points made by Brinton, the metaphors help him to achieve his purpose.

TOW #3: Look Who's Back (Visual Text)

As often as I have been told not to judge a book by its cover, the cover of Look Who’s Back deserves an award. The front is matte white with a swath of shiny black in the shape of a hairline near the top. The title—capitalized, bold, black letters—occupies a tight rectangular region, if a full face were to be pictured, between the nose and mouth. The author’s name is at the top in red, not particularly emphasized, as he was previously a shadow-writer, not someone well-known who would sell books with just his name.

The use of striking black against contrasting white helps to focus the potential reader’s attention upon the distinctive hairline, arousing curiosity about its purpose, before being drawn down to the title, Look Who’s Back. The short title offers little information about the book, except that someone has returned. It is unpunctuated, leaving the answer to a viewer’s inevitable question “Who is back?” open-ended, something to be answered by the viewer, not the author.  Slowly, one comes to the realization that the hairline is that of Adolf Hitler, and the title, in its little rectangular form, is his iconic mustache. The audience must be curious and analytical, as only such an audience would be drawn to consider the cover of the book. The cover-art is well thought out, as the book itself would appeal to such group. A political satire, it comments on media’s dominating role in society in combination with historical input from main character Hitler. However, it takes someone willing to think to understand Hitler’s implications and their modern relevance to appreciate the book.
To establish the tone of the piece, once a potential reader has discovered the shadow of Hitler on the front—which might itself symbolize that a twenty-first century Führer could be lurking in the shadows, either in the form of a human or new in forms of media that control modern lives—the back cover appeals to pathos through humor. It reads: “He’s back [...] and he’s Führious.” The silly pun makes the potential reader interested in a humorous piece. Though faced with a subject that seems serious, the use of a pun makes its satirical nature clear from the start.

Note: I discovered this book in Nuremberg, Germany. I bought it because it was ironically in a bookstore one bus ride away from the Nazi rally grounds. I have not finished it due to lack of time, but it is rather funny so far. Hitler addresses a modern youth playing soccer (whose mother obviously must have sewn his name onto the back of his Hitler Youth uniform) as "Hitler Youth Ronaldo." It was funny because soccer is now Germany's most popular sport, but the fictional Hitler was confused by a soccer jersey.

IRB #1 Intro: The Anatomy of Revolution

I have chosen to read The Anatomy of Revolution by Crane Brinton as my first non-fiction book of the year. I selected the book because we were supposed to read it in AP European History last year, and our teacher deemed it to be valuable. However, our curriculum was revised and we did not get to read the book. I hope to gain insight into what constitutes a revolution and draw parallels amongst the English, American, French, and Russian revolutions. Hopefully, I will be able to apply this book to AP United States History and to current events in the future.

TOW #2: The Communist Manifesto (First Section) (Written)

*I only read the opening and first section for my TOW, as the Manifesto in its entirety is significantly longer than normal TOW-length.

In 1848, Karl Marx and Friedrich Engels published the Communist Manifesto, aiming to establish a platform for the Communist League, and more importantly through that to convince the international proletarian community of their necessary role in the worldwide revolution against capitalism. The first section speaks of the history of the bourgeois class, particularly as it relates to the further oppression of the proletariat. With the now-famous line, “A specter is haunting Europe—the specter of communism,” Marx and Engels begin the rhetorical approach to their communist ideology.

        From the first line, a reader of the Manifesto is intrigued. The sinister implications of a ghostly figure “haunting” Europe arouse curiosity, as communism in these words seems to be condemned, not endorsed. Within the first few paragraphs, the question is answered with a logical argument: Communism is recognized (and feared) by all of the great powers of Europe as a power itself. Therefore, it is time to “meet this nursery tale of the specter of communism with a Manifesto of the party itself.” The rationale expressed can hardly be questioned, as to define one’s ideals to alleviate or confirm the fears of another can be naught but beneficial to all.

        The first section begins with an equally moving line: “The history of all hitherto existing society is the history of class struggles.” It ignites a reader’s curiosity for the following section pertaining to the formation of the bourgeoisie and the eternal oppression of the proletariat, and throughout which Marx and Engels employ basic rhetorical devices to rally readers to the communist cause.

        “The bourgeoisie,” say Marx and Engels, “has stripped of its halo every occupation hitherto honored and looked up to with reverent awe.” This grandiose metaphorical implication is loaded with emotional appeal. The idea that certain professions might have formerly been revered, but due to bourgeois capitalism have been corrupted, creates empathy for the communist motivation. The removal of a halo implies destruction of innocence, the rape or exploitation professions. Given that they refer often to the exploitations of capitalism, speaking of resources, markets, and labor forces, the impact of the personifying metaphor is enhanced.

Throughout the text, the supposed maleficence of bourgeois capitalism is implied numerous times through comparisons, such as to sorcery. However, the authors of the Manifesto do not rely upon pathos alone to achieve their goals. They additionally provide an explicit history of the bourgeoisie, which is seemingly accurate, though ridden with choice diction holding negative connotations. Thus, they establish their credibility through detailed knowledge of history, particularly that of the class struggle. Through these uses of rhetoric, Marx and Engels appear to be successful in their purpose. Historically, however, the power of their words would not directly precipitate action for decades to come.

TOW #1: How to Say Nothing in 500 Words (Written)

In 1958, Paul McHenry Roberts published the essay How to Say Nothing in 500 Words as a part of one of his books, Understanding English. Roberts, an English professor, approaches his topic from the second-person perspective of a student assigned a five-hundred-word composition on college football. The topic is not only relevant given its student audience, but also because of when it was written. In the 1950s, many colleges were dropping their football programs, largely for financial reasons. This made the topic a popular point of debate for essays.

Appealing to his student audience, he satirically mimics common excuses, such as deciding to go to go to the movies rather than do homework because “you do your best thinking in the morning.” This procrastination results in a substandard position paper, which he spends the rest of the essay instructing his audience on how to amend through a rather scientific process.

Informal diction, including smatterings of contractions and direct addresses of the audience, give the piece a more conversational tone, putting the student audience at ease with his writing. Humorous hyperboles add to the youthful attraction, as he convinces his reader to avoid the most obvious examples to back up their theses. Rather, express opposition to college football because it “competes with baseball and is therefore un-American and possibly Communist inspired.” A blatantly exaggerated example, it additionally satirizes anti-Communist fervor present in 1950s America.

The organizational structure utilized by Roberts adds a logical progression and coherence to his essay. He uses headings with distinct rules for writing, including “Take the Less Usual Side,” and “Get Rid of Obvious Padding” to focus his readers. Though he elaborates with comical examples, he also, through the headings, provides the main points, lest they get lost in the text.

Through his superb use of diction, satirical humor, and organizational strategies, Roberts reaches his audiences of college students, allowing them to become better writers.

(318 words)

No Name Woman

Blog Post 3: No Name Woman

by Maxine Hong Kingston

Pages 383-394

In her 1975 essay No Name Woman, Maxine Hong Kingston, known for helping to establish the personal memoir as a writing form, writes of her father’s forgotten sister. The woman was impregnated by an unknown man and was thus scorned by her community. She drowned herself and the newborn and was forgotten as though she had never been born. Kingston, not allowed to inquire about this lost aunt, fantasizes about her in a stream-of-consciousness manner, and in the process reveals the Chinese societal expectations for women and their repression of individuality.

        The story of the forgotten aunt, Kingston writes in an anecdote, was told to her when she began to menstruate as a warning to remain pure. Rather than being frightened, Kingston is curious, as her fantasies lead her to imagine what kind of woman her aunt might have been. Vivid imagery is used to take the reader inside the story and within Kingston’s imagination to personally visualize the life of a Chinese woman. She knows, however, that this curiosity is strictly forbidden. Her mother would do nothing unless “powered by Necessity” (Kingston 385). The capitalization indicates necessity is a powerful force in Chinese society, as well as a repressor of individuality, as it does not allow for one to be expressive unless it is absolutely required.

Kingston also uses the term “roundness” throughout one section to symbolize familial unity and dependency on one another. “The round moon cakes and round doorways, the round tables [...] these talismans had lost their power to warn this family of the law, a family must be whole, faithfully keeping the descent line by having sons to feed the old and the dead, who in turn look after the family” (Kingston 391).  The aunt was punished for placing herself above her family through her engagement in sexual activities. The repression, however, exists only for women. Kingston stated that many men in the village journeyed to America, leaving their wives at home to live in accordance with tradition. Thus, Kingston successfully portrays the way in which Chinese society represses individuality and women.

(347 words)

http://www.viralhunger.com/un-women-ad-campaign/

Women Should...

Both the image and Kingston's essay express the restrictions placed on women in their daily lives. Though the essay is focused primarily on Chinese women in the past, the image above displays that what many may regard as an issue of our ancestors is in reality a struggle of the present. Google's search prediction, which is based upon commonly searched phrases, completes the phrase "women should" with "stay at home," "be slaves," "be in the kitchen," and other such oppressive concepts.

The Moral Equivalent of War

Blog Post 2: The Moral Equivalent of War

by William James

Pages 45-56

  William James, an established American thinker in the fields of philosophy, psychology, and physiology, published an essay entitled The Moral Equivalent of War in 1910, in which he proves that despite his own pacifist beliefs, a world without war is not yet possible or desirable. The author of numerous related books argues that in the absence of war, political unity and the character of man cannot be built until pacifists find a more moral tool to serve its mental and emotional purposes.

        Man, says James, has been bred to be militaristic: “We inherit the warlike type; and for most of the capacities of heroism that the human race is full of we have to thank this cruel history” (James 47). Not only does he believe war to have merit, but even that it is an inherited aspect of human nature. The metaphorical comparison to something passed from generation to generation, whether viewed from a biological perspective or in terms of family heirlooms, links war with human identity, establishing its profound sentimental value. Despite any objection to war’s bestial qualities, James insists upon thanking the “cruel history.” “War is the strong life; it is life in extremis,” he emphatically states (James 46). Such poignant diction appeals to the reader on an emotional level, a basis for much of James’s writing.

        James bolsters his thesis with historical and literary evidence, allowing him achieve his purpose. References to the Boer War (James 47), recent in his initial readers’ minds, and The Iliad (James 46) give him credibility he would not otherwise command. James recognizes that to date there is no better solution than war, but offers a suggestion all the same: rather than conscription into the military, young men might enlist to work in road-building or dish-washing to make them tough without the callousness obtained in warfare. He appeases fellow pacifists with the notion that a peaceful utopia may be obtained later, while also reaffirming the militaristic belief that war is necessary. Therefore, while offering hope for the future, he successfully convinces his audience that war, for the time being, is a necessity.

(350 words)

http://www.seattlepi.com/local/article/WSU-puts-World-War-I-and-II-propaganda-online-4968772.php#photo-5437347

War is a Part of Us

Through James's essay and this propaganda poster, one can see fact that war is engrained in human nature. "Be a man," the poster commands. Just as James states in his essay, war is used as a means to toughen young men. This also implies that if one does not sign up to fight, he is not a true man. Society has an idea of what a man should be, "tough" or "brave" being masculine qualities. War, it seems, is the only way to prove one's gallantry. James hopes, however, that the future might offer a less violent solution, while still to some degree upholding those ideals.

Illumination Rounds

Blog Post 1: 

Illumination Rounds

by Michael Herr

Pages 327-341

Illumination Rounds is a 1969 essay by Michael Herr, a correspondent for Esquire magazine during the Vietnam War, and published in Herr’s 1977 book, Dispatches. Herr spent over a year in Vietnam during some of the most intense fighting, and, uninhibited by deadlines, traveled about at will, experiencing the war alongside American troops. The essay portrays the war through Herr’s eyes and through the eyes of those with whom he came into contact in short, provoking stories. He paints a grotesque picture of warfare as someone seeing its brutality for the first time.

The title, Illumination Rounds, is a double entendre. Illumination rounds are used militarily to light up the enemy at night. However, the essay is meant to act as an illumination of the realities of war to a naive American public. Herr entered the war zone blind to its brutality, once describing a dead boy’s hand as a “pound of liver fresh from the butcher paper” (Herr 328). The metaphor exemplifies how death appears to a man seeing it for the first time. The comparison that he chose helps Herr to illuminate the horrors of war to Americans, as relating a man to a piece of meat is highly disturbing. In peacetime, humans regard themselves as superior to all other creatures. War, however, makes corpses of man and beast equally.

Additionally, Herr makes known the corruption of warfare. He comments on some American civilian engineers, who were well-paid by the government and had their salaries matched on the black market (Herr 329). He describes their sad mistresses and their insensitivity to Vietnamese culture (Herr 330). In another portrait of Special Forces captain he met, he tells the story of a man who received a medal through a lie (Herr 331). His testimonial experience in the first case, and the quoted story of a real man in the second build Herr’s credibility. The blatant corruption of the matters reveals the lawlessness of war, helping him to achieve his purpose. Herr’s written images of Vietnam would not allow an American audience to see war the same way again.

(348 words)

 

Photo by Horst Faas, 1965

"War will make corpses of us all" 

The image and essay relate closely with a quote from Faramir in The Two Towers (film). An addition not included in Tolkien's original work, the character states that "war will make corpses of us all." Through the combination of death and corruption exposed by Herr, it is clear that whether one becomes a literal, lifeless corpse, or suffers the fate of the corrupt, a body rid of morality, war does indeed make corpses of all. Similarly, the band on this soldier's helmet says "war is Hell." Again, whether or not one is physically dead, he or she still experiences hellish horrors.