85 Matching Annotations
  1. Oct 2019
    1. Like all great cops, Sergeant Martinez is a sneaky fucker. He’s also a master of inflection and narrative voice.

      The author answering the questions she proposed to the reader in a very harsh and memorable way, immediately draws the audience's attention no matter their background or age due to the fact that curse-words are not typically used in academic writing.

    1. …it is not only necessary to consider how to make the speech itself demonstrative and convincing, but also that the speaker should show himself to be of a certain character…and that his hearers should think that he is disposed in a certain way toward them; and further, that they themselves should be disposed in a certain way towards him.[1]

      Credibility or "ethos," per Aristotle.

  2. Sep 2019
    1. “students will write differently, you know, if they know it’s not just going to their professor.

      Changes the audience and gets students to think about writing for a larger, perhaps more general audience. This is an important aspect if we want to have, say, highly technical disciplines, like sciences, learning to engage more broadly with the public. Having learners understand the importance of writing for an audience that is more general could become an important open pedagogy principle for disciplines that want to have their work have a broader impact with the general public.

    1. . i have my foot on the pedal

      This is meant to say that he is the person that takes charge of his life and no one else. Also, by not using capital letters at the beginning of the sentence(s), it allows it to seem more intimate and less professional, scripted.

  3. Apr 2019
    1. The primary benefit of this would be to make the Hudson River and Public Square park areas more easily accessible to everyone who lives and works east of Hudson Yards. Opening 10th avenue to street facing retail, turning the six lane street two-way, and adding bike lanes would also make it more forgiving.

      Concluding appeal and explanation of the author's call to action. Considering the lack of walkability and limited potential use, they suggest a new design that will maximize access. This also has the benefit of altering the public's sense of that the space is exclusive.

  4. Feb 2019
    1. Firmness and strength of Mind ·,_ 1 • ..will carry us thro all these little persecutions,, ..... ..-orrt ... • h' h . r • • w 1c may create us some uneasiness 1or a.. .t...t 0r while, but will afterwards end in our Glory and-....:� Triumph.

      I think it's important to note that the words Astell is using are not unusual or incredibily difficult to understand -- they are, in fact, pretty conversational, and don't seem pretentious or alienating. She's working with her audience.

    2. it is not because you mm! but because you will.

      This is awesome. It's confrontational but also empowering -- definitely keeping her audience in mind.

    3. accommodate her audi­ence.

      This idea of audience centeredness is still taught today in the majority of public speaking classes.

    4. et if you will believe it impos­sible, and upon that nr any other prejudice for­hear t'attcmpl it, l'mc like lo go without my Wishes; my Arguments what ever they may be in themselves, arc weak and impertinent lo you, be­cause you make them useless and defeat them of the End they aim at

      Here Astell seems to be saying that if her audience is prejudiced against her, has already set in their minds that her task is impossible, then she'll get nowhere. Nice insight into the nature of the audience and their receptivity. Sometimes a fight is lost before it's ever begun, though that doesn't mean to stop trying. There's always another audience, one brought on by another exigence, context, or cultural technique (although below, she seems to be insisting that there's some kernel of perwasive opportunity left to her, can she but root it out).

    5. rhetorical ability is mainly a natural endowment and that one should strive for clarity lo accommodate one's audience

      When preparing to speak publicly, the speaker's first consideration should always be the audience -- all other factors, including topic, should be a product influenced by the unanticipated audience.

    1. means talking about audience—whom they are addressing and who are people who might accidentally come across their blogs or tweets

      Knowing who the information is available to, whether it is the whole world or just a few people. Who are you talking to and how are you communicating to them?

    1. but by the Just and VVife, which will be a Satisfaction to me.

      I feel like I should add a similar disclaimer to all of my essays: "Look, I'm not going to please everybody, and if you're not on the same page as me, then there's the door." In a way she's forming her audience within the writing itself, so that what appears to be a series of sweet slams is actually a strategic method of telling the reader how to receive the text.

  5. Jan 2019
    1. as

      The claim here that "the rhetorical occasion always includes an audience" seems challenged by Rickert, who argues for a rhetorical situation involving an isolated shaman painter in a dark cave.

  6. Oct 2018
    1. Like ourselves

      Just interesting whom the perceived audience is. Is the "ourselves" the writers, the perceived audience of fellow educators, or...?

  7. Sep 2018
  8. Jun 2018
    1. Please. It’s an intellectual heirloom: cherished by those who can afford such baubles but disposable in the eyes of others.

      Bruni's snark and irreverence in the opening paragraph is a quick way to identify his audience. We're grouped in with him, rolling our eyes with exasperation about the state of higher thinking, implying that we are the intellectual elite who "cherish" what others might call "baubles," if they were cultured enough to understand the metaphor. But there's a sort of self-awareness in this as well, a poking fun at ourselves for our own snobbery. We NYT readers and subscribers "can afford" to place value in such things. There's a sort of balancing act taking place between the snobs on both sides of the intellectual v. practical education debate, which eventually trickles down into the article. During the argument, we never leave the position of being the privileged cultural elite, but we are encouraged to have practical answers for questions about why "nonvocational" majors are of value.

  9. Mar 2018
    1. and my reader shall judge for me

      definitely a good line to captivate the audience! romantic writers can become extremely caught up in the subjects of their works, but it was smart to draw a correlation to the reader early in the story

  10. Feb 2018
    1. For allusion to operate at all, the author and the reader must have a shared pool ofpoetic memory on which to draw,25and the author assumes a (possibly nonexistent) knowledgeable reader when engaging in allusion.26Conte goes so far as to suggest that the author ‘establishes the competence of his (or her) own Model Reader, that is, the author constructs the addressee and motivates the text in order to do so,’27

      what if there is not a Model Reader? Can the audience not be aware of the allusion? In that case, the new works have to create new meanings. In connecting The Waste Land to modern audiences, are there ways to "establish competency" in a visual scene that the page would not be able to do?

  11. Sep 2017
    1. Have you just arrived at our blog and you’re not sure where to start?

      Assumes that the reader wants to start travelling.

    1. If you’re looking to follow our journey and adventures, scroll to the bottom and check out the “Our Story” section.

      This could be one sentence that describes the audience that they're trying to grab the attention of.

  12. May 2017
    1. reasoning

      If we're talking about reasoning, it is very psychological. All of these different focuses are connected as we all know. But, something like reasoning connects to the psychology of your audience. I would not deliver the same reasons for an argument to our class as I would say a grade school class.

  13. Apr 2017
    1. Indeed,neitherrequiresanaudienceinordertoproduceitsend;thescientistcanproduceadiscourseexpressiveorgenerativeofknowledgewithoutengaginganothermind,andthepoet'screativepurposeisaccomplishedwhentheworkiscomposed.

      This seems like a very rigid understanding of the audience. Can't the poet/scientist be his/her own audience?

    1. problematiccategory

      Translation: they do not see the audience as a problem to be addressed, but an assumed set of factors. Now I will continue to talk about the problem for a few more pages and only respond with an answer at the very end.

    2. Derrida'sdeconstructionofthehumanisticsubjecttumsingreatpartontheeffacementofthesubject/structurebi-narythatallowshumanistslikeHusserlandFreud44topositaself-presentI,"afixedorigin"thatitself"escape[s]structurality"insuchawayastolimit"theplayofstructure."

      . . . . and how does this solve our problem?

    3. implyput,thedeconstructionofthesubjectopensuppossi-bilitiesforthefieldofRhetoricbyenablingustoreadtherhetori-calsituationasaneventstructurednotbyalogicofinfluencebutbyalogicofarticulation.

      What implications does this have for all the weeks we were worrying about a hostile audience? If you can't address that problem, then why go through such lengths? What has this all been about?

    1. Pa' hallar buen trabajo tienes que saber hablar el ingles. Que vale toda tu educaci6n si todav{a hablas ingles con un 'accent,"'

      Of course, it's significant that she refuses to directly translate her mother's words, here. Although Anzaldua is speaking to a predominantly white audience, she refuses to relieve the burden of language that is not for the audience.

    1. Frederick Douglass, a masterful Signifier him-self, discusses this use of troping in his Narrative of I 845. Douglass, writing some seventy years after Cresswell, was an even more acute ob-server. Writing about the genesis of the lyrics of black song,

      Although this is Douglass talking about black song, it seems to answer my earlier question about double-audiences.

  14. Mar 2017
    1. I noted other Spacemen, Arthur, Ronald perhaps who had been listening in to our conversations, unknown to us while we were travelling through space connected by some virtual, umbilical tube.

      Open Audience

    1. in an obvious circle,

      So who do we think was in the audience when this was delivered? We know it was delivered at Notre Dame, so I assume the audience was primarily faculty, right? All historical moments are political, but this was a historical moment in which it was particularly political just to be a college student or faculty member, so I can only imagine the room at this point in his lecture. I wish we had more information about the immediate reception of this ideas, here.

    1. mutual communication transaction, Rogers is often as con- cerned with the audience as with the speake

      It seems like a lot of our rhetors so far have been discussing "mutual communication transactions," but without acknowledging it. Those earliest were, perhaps, genuinely not considering reciprocated communication from their audience at all, but in more recent weeks, at least, we have gotten rhetors who think about their audience at least a little. This, however, is certainly the most explicit text in terms of addressing rhetoric as a "mutual communication."

    1. Perelman and Olbrechts-Tyteca emphasize that there is no actual universal audience, nor any unimpeachable facts or truths that could be presented to it, but rather, only an idea in the speaker's mind about what such an audience would be were it to exist.

      This is a confusing construction. Summary: purely rational argument is trying to appeal to a "universal audience," but the editors want to clarify that Perelman and Olbrechts-Tyteca did not really believe that a true universal audience exists. Rather, a speaker imagines a universal audience (rather than one that already has a set of shared values that must be appealed to in a specific way), and then tries to make rational arguments that could appeal to the "universal audience" of their imagination.

    2. rticular" audiences repre-sent a group of people united by shared values, su

      So a "particular party" would the people taking part in a political rally or something of the sort where the mind is mostly closed to the other ideas. A universal audience is a group of people with open minds, willing to accept the persuasion of the speaker if presented with logical information?

    3. guments are always addressed to an audience, because the purpose of argument is to win the adherence of the audience, no

      Just continues to pop up again and again!

  15. Feb 2017
    1. Every speech which is designed to move is directed to a ~pecial audience in its unique situation.

      It would seem the influence of the audience is one of the ideas that is consistently part of our readings. As I have said before The question of whether a good orator is a good man seems very insignificant to me, as it depends entirely on the audience at hand

    1. find new audiences-es

      I like this idea of finding a new audience, rather than converting an old one. This seems to imply that the a rhetor is not necessarily obligated to sway those who are opposed to the very fact of their speech. Instead, they can simply find a new form and a new audience to "get a hearing," since that's apparently a phrase now. I mean, it seems a little idealistic, but less likely to expose the rhetor to violence.

    1. She gives much attention to gauging the audience and avoiding any appearance of superior knowl-edge, along with canny advice on how to deal with obtuse or hostile questioners

      Sound like specific issues that women would have to deal with as speakers: they can't intimidate their audience by seeming too smart, and I imagine that they received harsh opposition from some audiences (though it's interesting that this opposition isn't discussed as much in here as it was in introductions for Grimke and Douglass last week).

    2. gauging the audience

      an important quality as the audience is the deciding factor of any movement.

    1. that, there-fore, a writer who increases this power by stimulat-ing mental action arrives, by a different road, at the same destination which is reached by another writer who by a wise economy prevents unnecessary waste.

      It is useless to assume anything about an audience's mental processes, mostly because you're going to say what you want to say anyway and you're still not going to ensure an audience's understanding.

      I think Locke would wholeheartedly agree with this.

    1. The qrecks invented rhetoric to gain power over their ~u~i~!lc,ei,

      This is a fascinating concept; to think of rhetoric as being intentionally invented, or crafted in a certain way, to exclude others in an effort to create societal division and establish hierarchy. I suppose I've typically thought of rhetoric as something that occurs naturally in the world on multiple social levels of understanding and manifestation (and also as something that exists in a relationship of mutuality between the "author/speaker" and the "audience" see: rhetorical triangle), and not as something that was deliberately created as a tool to subjugate others. In fact, as we've discussed in class, the participation or reception of an audience is actually a sometimes necessary contribution to the "rhetoricity" of a speech/text/artwork/etc.

    1. did not yet enjoy this supportive reaction

      This seems like quite an understatement, given the last sentence of the next paragraph. Do we have any historical info regarding the ways the hostility of the audience manifested itself? I imagine it must have been fairly extreme to force her to leave the city. For example, was it heckling, attempts to speak over her, jeers and boos to drown out her words, perhaps even a dramatic attempt to pull her from the stage? It seems like the reactions of such hostile audiences offer important historical information, as it should be kept in mind when we consider how women and people of color first needed to shape a type of rhetoric that would quell a hostile audience.

      As an example from a different historical moment, there are conflicting reports of Sojourner Truth's reception at the Seneca Falls Convention. Some reports imply that she was heckled, or at least that there were interjections from the audience, while other reports offer an opposing narrative that present Truth as largely supported by the audience and not decried at all. The hostility or receptivity of the audience (and the way such information is mentioned in accounts) shapes the way we can interpret Truth's oration and its effects.

    2. Though black their skins as shades of night Their hearts are pure, their souls are white

      I can fully understand how this poem would help to win over the whites among her crowd, but it seems to be a bit like she is giving in to the idea that white is better than black. It comes off to me that she is stating they are not equals unless the souls reflect as white.

    1. hear-ers

      Kind of connecting this section with our microresponse prompt. Taste would be rhetorical in that the taste of the audience would determine how an orator would appeal to an audience and how that audience would respond to the orator.

    2. CHAPTER Vll

      Chapter VIII: Just Take What Chapter VII Said About General Audience Awareness and Use Your Discretion to Make It Specific to More Particular Audiences.


      Chapter VII: General Audience Awareness

      But, really, Mere Rhetoric has a nice (I'm assuming she's mostly on point here) summary of some of the concepts to follow.

  16. Jan 2017
    1. is not conformable to that which is required by lhe performance.

      This is again interesting as it bears upon the rhetorical work of an audience. We often tend to assume that rhetoric is someone a speaker does to an audience, but the work of the audience is also rhetoric.

    2. But a delicate taste of wit or beauty must always be a desirable quality; because it is the source of all the finest and most innocent enjoy-ments, of which human nature is susceptible

      What strikes me here is the great emphasis upon receptivity.

    1. The simplest analysis of the “crisis in scholarly publishing” is that it’s a problem of audience: nobody’s reading these books—not even colleagues in the disciplines, much less students, or the general public.

      The relative lack of annotation for many of the titles in digitalculturebooks might serve as evidence for this thesis—although there is of course no way of knowing how many people have read titles here without annotation, nor whether the somewhat unfamiliar annotation interface (compared to the comment-posting typical on blogs, online journals, etc.) might be discouraging some folks from commenting. So maybe open access by itself is not enough.

  17. Dec 2016
    1. What is annotation as a genre? I think what he observed in the annotations was a wide range of reader responses, some highly engaging, others less clearly so.

      This question seems like it should be more specific to disciplines. What is annotation in the legal world? How about for scientists? For beginning readers?

      If I'm annotating a text to make meaning, that's different than if I'm a prof annotating a historical text to provide relevant background. The two notes have only their "noteness" in common, I'd say.

  18. Nov 2016
    1. who might accidentally come across their blogs or tweets

      It's these unintentional audiences that require the most attention in working with students, since the implications of that interaction can be so wildly different from the outcomes of interacting with the intended audience (which they're already anticipating).

  19. Oct 2016
  20. libguides.colorado.edu libguides.colorado.edu
    1. NE COLD EVENING in February 2008,

      The author begins with a story? What does that tone suggest about the intended-audience?

    1. The criticisms expressed within this paper should not be takenas being only relevant to the academic literature. The assumptionspresented here have been shown to find their way into policy andpractitioner debates as well as planning debates around particularproposed wind power developments (as highlighted above inrelation to NIMBYism).

      What does this tell you about the author's audience?

    2. The majority of the public supports wind power.2. Opposition to wind power is therefore deviant.3. Opponents are ignorant or misinformed.4. The reason for understanding opposition is to overcome it.5. Trust is key.

      Author clearly indicates what she will do in the article. What does that mean to you?

  21. Feb 2016
  22. specialedwitheva.weebly.com specialedwitheva.weebly.com

      I can feel your excitement here, but think you might convey that with an exclamation point in lieu of all caps. All caps seems REALLY LOUD :)

  23. jackymumford.wordpress.com jackymumford.wordpress.com
    1. Family, friends, coworkers, parents, & anyone else

      big audience! may shape the tags you use to categorize posts as they accumulate. maybe some are more for some folks than others?

    1. I am a double major in spanish and special education

      This detail conveys your seriousness as a student and your marketability in a city full of bilingual folks.

  24. sammiecurtin.weebly.com sammiecurtin.weebly.com
    1. :)

      This gives me a feel for the casual tone you're working to strike, but I'm wondering if given the initial clause about letting us in on a secret, you might end the sentence with a ... for drama instead and to fend off some of the more conservative audience members who might judge you for using emoticons as a teacher (I don't, but have their imaginary lenses on my shoulder as I read).

    2. I will keep y'all posted while working with these kiddos.

      I appreciate that you're speaking to me as an audience. This is also giving me a sense of how you will use this site right now (purpose), to check in and consider the road to your first position as you move through the st. ed's program.

    1. She is the reason I want to work with students.

      Sounds like a real inspiration. I wonder if you might quote her? I am also looking at this and wondering about balance. How can we fit you and your strengths back into this page before we leave it, as readers? Is there a way to bring us back to you through a moment mentioning the image or the metaphor it might illustrate, experience it conveys about you and who you are as an educator? (just brainstorming)

  25. Aug 2015
    1. The next thing you learn is that the best way to succeed on a given platform is to write/film/record/aggregate with that platform explicitly in mind.

      know your audience!

    2. enormous audiences

      this isn't always what is wanted though, as the greater the audience, the less expertise it has. some content commands a smaller, more focused audience.

    3. . In exchange for audience, platforms ask for some degree of labor and conformity and control.
  26. Feb 2015
    1. There are two essential building blocks to creating a success project: 1) selecting an audience; and 2) articulating clear outcomes.
    1. RK&A explored the ways in which science festival visitors used the MM2GO exhibition and how the exhibition affected visitors’ ideas and attitudes about mathematics.
  27. Oct 2013
    1. Only two conditions are to be insisted upon, that our hearer or companion should have an earnest desire to learn the truth, and should have capacity of mind to receive it in whatever form it may be communicated

      This is a good change between meeting your audience at their level from earlier philosophers and now you gotta make sure they are up to your level.

    2. capacity

      How might the speaker know the what extent the audience can understand his words? Is the information itself, after a certain point, impossible for some to understand, or is it the method of presentation?

    1. Would not he seem to be affected with something like madness? There would be no eloquence in the world if we were to speak only with one person at a time.
    1. The fear of failure, moreover, and the expectation of praise for what we shall say gives a spur to our exertions, and it may seem strange that though the pen delights in seclusion and shrinks from the presence of a witness, extemporal oratory is excited by a crowd of listeners, as the soldier by the mustering of the standards.

      Do we approach audiences different in writing and speaking? How do we distinguish and approach each?

    1. But even if a declamation be composed merely for display, we ought surely to exert our voice in some degree to please the audience.
    1. uneducated more effective than the educated when addressing popular audiences

      "in oratory the very cardinal sin is to depart from the language of everyday life, and the usage approved by the sense of the community." - Cicero, De Oratore

    1. The second is how to set these facts out in language.

      with consideration to audience and purpose

    2. For it is not enough to know what we ought to say; we must also say it as we ought; much help is thus afforded towards producing the right impression of a speech.

      Style is concerned not with what but how (presentation). This aids our rapport with our audience

    1. Chapter 7 (1408b) Appropriateness. An appropriate style will adapt itself to (1) the emotions of the hearers, (2) the character of the speaker, (3) the nature of the subject. Tact and judgement are needed in all varieties of oratory.
    1. The orator must so speak as to make his hearers angry with his opponents.

      persuasive speaking/rhetoric. being manipulative? using speech to make his audience hate his opponent?

    1. it must adapt itself to an audience of untrained thinkers who cannot follow a long train of reasoning
    1. Rhetoric falls into three divisions, determined by the three classes of listeners to speeches. For of the three elements in speech-making -- speaker, subject, and person addressed -- it is the last one, the hearer, that determines the speech's end and object. [1358b] The hearer must be either a judge, with a decision to make about things past or future, or an observer. A member of the assembly decides about future events, a juryman about past events: while those who merely decide on the orator's skill are observers. From this it follows that there are three divisions of oratory-(1) political, (2) forensic, and (3) the ceremonial oratory of display.
  28. Sep 2013
    1. Appropriateness. An appropriate style will adapt itself to (1) the emotions of the hearers, (2) the character of the speaker, (3) the nature of the subject.


    1. For of the three elements in speech-making -- speaker, subject, and person addressed -- it is the last one, the hearer, that determines the speech's end and object. [1358b] The hearer must be either a judge, with a decision to make about things past or future, or an observer. A member of the assembly decides about future events, a juryman about past events: while those who merely decide on the orator's skill are observers. From this it follows that there are three divisions of oratory-(1) political, (2) forensic, and (3) the ceremonial oratory of display.

      I like how he divides these categories into past, present, and futures.

    2. it is the last one, the hearer, that determines the speech's end and object.

      Demonstrates the importance of audience

    1. The duty of rhetoric is to deal with such matters as we deliberate upon without arts or systems to guide us, in the hearing of persons who cannot take in at a glance a complicated argument, or follow a long chain of reasoning.

      Adapt material to audience

    1. (1) make his own character look right and (2) put his hearers, who are to decide, into the right frame of mind. As to his own character; he should make his audience feel that he possesses prudence, virtue, and goodwill.
    1. ans and counsels them to be of one mind among themselves?

      Tailors argument to audience, appeals to common ideals

    1. Do you mean that you will teach him to gain the ears of the multitude on any subject, and this not by instruction but by persuasion?

      Address the audience