12 Matching Annotations
  1. Dec 2018
    1. il n'est pas possible d'identifier plusieurs niveaux d'énonciation

      Attention, là je crois que tu t'avances trop! Tu dis à la fin du paragraphe: "Selon la théorie de l'éditorialisation il y a des dynamiques scripturales qui font émerger des organisations spatiales desquelles émergent ensuite des éléments qu'on peut hypostasier en auteur, éditeur, support, architexte etc." et je suis d'accord avec cette phrase, qui est un peu le noyau de la méta-ontologie. Mais si les énonciateurs, l'énonciation, voire les dispositifs collectifs d'énonciation émergent, alors ils existent. Mais s'ils existent, pourquoi interdire l'identification de niveaux? Pourquoi appauvrir a priori la description, l'analyse...?

  2. Nov 2016
    1. "There is not a writer in our classrooms today who will not be producing something with a digital writing tool in her or his lifetime."

      Almost all of the tools that I think most folks put in the digital writing camp are binary doppelgangers of their analogues. For example, Power point as used is mostly a flip chart with more bells and whistles. Note taking apps are 3X5 cards with a digital twist. Even hypothes.is is just marginalia with a social bent. So what I propose is that what we teach is how to apply ANY tool to the task at hand. What that means is that we need worthwhile work for our students and we need to do that work using the tools at hand. And by 'tools' I mean digital, analog, and any other that can be pressed into the larger service of gather, making sense of and sharing the problems and questions and solutions and stories of the world.

  3. Feb 2014
    1. nctions A. A case brief is a dissection of a judici al opinion -- it contains a written summary of the basic components of that decision. B. Persuasive briefs (trial and appella te) are the formal documents a lawyer files with a court in support of his or her client’s position


    1. I t i s t h i s b e d r o c k p r i n c i p l e o f c o p y r i g h t t h a t m a n d a t e s t h e l a w ' s s e e m i n g l y d i s p a r a t e t r e a t m e n t o f f a c t s a n d f a c t u a l c o m p i l a t i o n s . " N o o n e m a y c l a i m o r i g i n a l i t y a s t o f a c t s . " I d . , § 2 . 1 1 [ A ] , p . 2 - 1 5 7 . T h i s i s b e c a u s e f a c t s d o n o t o w e t h e i r o r i g i n t o a n a c t o f a u t h o r s h i p . T h e d i s t i n c t i o n i s o n e b e t w e e n c r e a t i o n a n d d i s c o v e r y : T h e f i r s t p e r s o n t o f i n d a n d r e p o r t a p a r t i c u l a r f a c t h a s n o t c r e a t e d t h e f a c t ; h e o r s h e h a s m e r e l y d i s c o v e r e d i t s e x i s t e n c e . T o b o r r o w f r o m B u r r o w - G i l e s , o n e w h o d i s c o v e r s a f a c t i s n o t i t s " m a k e r " o r " o r i g i n a t o r . " 1 1 1 U . S . , a t 5 8 . " T h e d i s c o v e r e r m e r e l y f i n d s a n d r e c o r d s . " N i m m e r § 2 . 0 3 [ E ] .

      No one may claim originality to facts because facts do not owe their origin to an act of authorship. The distinction is one between creation vs discovery.

  4. Nov 2013
    1. What men avoid by excluding the liar is not so much being defrauded as it is being harmed by means of fraud. Thus, even at this stage, what they hate is basically not deception itself, but rather the unpleasant, hated consequences of certain sorts of deception.

      Critical distinction regarding the process of "selection"; from his central thesis.

  5. Sep 2013
    1. Of the modes of persuasion some belong strictly to the art of rhetoric and some do not.

      unlike, say, a paintings, which could be said to persuade, do not belong to the art of rhetoric?

    2. But rhetoric we look upon as the power of observing the means of persuasion on almost any subject presented to us; and that is why we say that, in its technical character, it is not concerned with any special or definite class of subjects.

      further defined

    3. Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. This is not a function of any other art.

      definition and distinction

    1. The argumentative modes of persuasion are the essence of the art of rhetoric: appeals to the emotions warp the judgement.

      Distinguishing legitimate rhetoric from and deceptive.

    1. Then why, if you call rhetoric the art which treats of discourse, and all the other arts treat of discourse, do you not call them arts of rhetoric?

      it is a fine distinction to classify art and other forms of expression as "arts of rhetoric". "A picture paints a thousand words"

    2. Then rhetoric does not treat of all kinds of discourse?

      defining and distinguishing rhetoric and dialogue

    3. a maker of rhetoricians

      wouldn't that make him a sophist?