ENG124 Cuyamaca Ten Common Fallacies & Comparative Rhetorical Analysis Paper there are two assignments. 1st assignment: “Critical Response #2” Now that y

ENG124 Cuyamaca Ten Common Fallacies & Comparative Rhetorical Analysis Paper there are two assignments.

1st assignment: “Critical Response #2”

Now that you have read the Guidelines for Essay #1, please choose which two articles you will write about–either the two journal articles OR the two newspaper/magazine articles. Also, be sure you have reviewed the “Ten Common Fallacies” and “Rhetorical Analysis Packet” handouts before completing this worksheet. You can download this chart and save it to your home computer, your Google Drive, or a flash drive. Just be sure that you are not submitting a blank chart and that you save your work. Your score for this assignment will be credit/no-credit based on percentage of completion. For each blank in the chart, try to include examples with page numbers from the articles. This exercise will directly prepare you to write Essay #1, so the more effort you put into it, the easier that writing process will be.

2nd assignment: “Comparative Rhetorical Analysis”

Please submit a doc, docx, or pdf version of your rough draft here. Use the following highlighting pattern in Microsoft Word or Google Docs, and be sure to use lighter versions of these colors so that I can read your draft. While the final draft must be 1,500-2,000 words, you should aim for a minimum of 1,000 words for this rough draft. Please note that this draft will be graded credit/no-credit and awarded 1 point per 100 words, up to 10 points. Once I have read your draft, I will provide feedback for you (in person, by telephone, via Zoom, or in Canvas, depending on what you choose). More information about that is located in 2.11 Schedule Conference with Instructor. Please indicate in the Submission Comment when you submit your paper, which type of feedback you prefer, and if you did decide to make an appointment with me via the Canvas Scheduler, indicate which day/time we are meeting. If you do not want to schedule an appointment with me, just write “Written Feedback” in the Submission Comments.

Thesis Statement=Yellow (Last sentence of introduction)
Topic Sentences=Green (Should be first sentence of each body paragraph)
Topics or Points of Comparison=Bold (Hopefully, you have one topic or point of comparison for each body paragraph. This should be one word or phrase.)

The two articles you use for the 1st assignment must be used for the essay. the essay must include the two articles you use. Critical Response #2
Directions: Now that you have completed a T-GAP and Rhetorical Appeals chart on all
four articles, choose two articles that you will be analyzing for Essay #1. Remember
that you should compare the two journal articles (Tabachnick & Humphrey) OR the two
newspaper/magazine articles (Delkic & Cooke) since they are similar genres, and
therefore, had similar audiences. Using the “Ten Common Fallacies” handout and
“Rhetorical Analysis Packet,” collect some more examples from your articles to help you
write Essay #1. Please type your responses directly into the blanks, taking as much
room as you need. Also, stick to Arial 12-point or 14-point font, as it is very easy to read.
Title of Article
Author
1-3 Main Claims
Assumptions (Stated
or Implied)
Organizational
Strategies
Literary Devices
Counterargument &
Refutation (if present)
Fallacies (if present)
Title of Article
Author
1-3 Main Claims
Assumptions (Stated
or Implied)
Organizational
Strategies
Literary Devices
Counterargument &
Refutation (if present)
Fallacies (if present)
R HETORICA L A NA LYSIS P ACKET
E NGLISH 124
I. PARTS OF AN ARGUMENT
Part
Claim
Reasons
Evidence
Acknowledgement
of
Counterargument
& Refutation
Warrants
Description
Debatable statement that
forms the main point of an
argument. (Sometimes
called a thesis statement.)
What does the author think?
Arguments that help
support the main claim.
(These allow the author to
break a broad claim into
smaller, more precise
sections.)
Why does the author think
so?
Personal experience,
outside authorities, facts,
and statistics that support
sub-claims. (Stands by itself;
the evidence is not
debatable, though its
interpretation may be.)
How does the author know
he/she is right?
Admission of possible
counterarguments,
reassertion of argument.
(Strengthens argument by
adding subtleties.)
It may be argued that ____.
However, that argument is
not sound because ____.
Assumptions that underlie
the argument. (Usually left
unstated, if the author
assumes his/her reader
shares them). What is the
author assuming?
Examples
Mr. X was an incredibly lazy
anthropology teacher.
Most every class, while Mr. X sat
at his desk, we watched movies
that had very little educational
value.
Mr. X used old tests that seemed
to be designed to save him time
rather than to gauge our
knowledge of material.
Some of the movies we watched
included Little Big Man and Last
of the Mohicans.
During two tests, I had to show
him as many as eight questions
that covered material he had
never assigned. Both times, he
told the class to skip those
questions.
Acknowledge Counterargument:
It’s true that half the class named
him as their favorite teacher.
Refutation:
The same half of the class slept
through class every day.
Teachers ought to be engaged,
attentive, and hardworking.
Teachers should only test students
on material covered in class.
II.
A NA LY ZI N G R H E TO RI CA L S TRA TEGI ES
Rhetorical strategy – a particular way in which writers craft language
so as to have an effect on readers. Strategies are means of
persuasion, ways of using language to get readers’ attention and
agreement.
5 Common Rhetorical Strategies –
? Appeals: Ethos, pathos, and logos
? Avoiding Fallacies
? Organizational patterns
? Rebuttals (counter-arguments/acknowledging opposition)
? Literary Devices: Repetition, Framing, and Figurative Language
When analyzing Rhetorical Strategies, remember to:
1. Identify rhetorical strategies.
2. Describe how they work.
3. Describe why they are used – what purpose do they
accomplish?
Note: When describing why a strategy is used, you may want to
consider alternative strategies, and think about how they would work
differently. You may also want to consider what would happen if the
strategy were left out – what difference would it make to the
argument? This may help you figure out why the particular strategy
was chosen.
How Structure Can Further an Author’s Argument
To understand structure, consider the overall organization of the
essay and how it furthers the author’s persuasive strategies.
Examine the various parts of the argument. How do the separate
sections of the essay develop the claim? Try not to summarize or
simply list the main point of each paragraph. Focus on one or two
aspects of the essay’s organization and how it furthers the author’s
argument.
Authors use various organizational strategies to structure their
arguments. For instance, one way that authors might organize their
essay is in terms of a problem-solution-justification structure. The
opening section typically persuades the audience that a problem
exists, the second section offers potential solutions, and the final
section attempts to justify the solutions by showing how they help
to alleviate the problem. When investigating historical or social
arguments, writers typically examine the cause and effect of issues
and events to further their claims. Thus, writers will detail the way
specific events lead to certain outcomes. These are a just few of
the typical ways that writers organize their arguments.
Below is a list of common organizational strategies:
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Comparison-Contrast
Cause-Effect
Definition (defining key terms)
Problem-Solution
Classification/Division
Emphatic (order of importance)
Chronological (time order)
General to Specific
Abstract to Concrete OR Simple to Complex
Point-by-Point
Exemplification (organizing by examples)
Counterargument and Refutation
It is important that you can both recognize and utilize the following process for
counterargument and refutation.
3-Step Process of Refutation
Step 1: Acknowledge (“They say…”)
Step 2: Refute Using Support (“But…because…”)
Step 3: Conclude (“Therefore….”)
Sample Paragraph Using the 3-Step Process
Some of the moves have been underlined for you.
Advances in medical robot technology have led to improvements in the
quality of surgeries, which benefit patients. For example, the daVinci Robotic
Surgical System (DRSS) is a technologically advanced surgical system that is
used for delicate procedures such as prostate and kidney surgeries. Some
patients are skeptical of the device initially because they think the robot
performs the surgery on its own. However, the robot is only a tool for a human
surgeon. Furthermore, in his article, “Robotic Surgery Benefits Springfield
Hospital,” Kevin Stirling emphasizes the fact that “for patients requiring surgery,
the advantages and benefits of minimally invasive surgery with the daVinci
Robotic Surgical System are plentiful including but not limited to: less pain,
shorter recovery times, shorter hospital stays, less blood loss, fewer transfusions,
less scarring,…and overall improved clinical outcomes generally” (Stirling). In
other words, Stirling believes that the DRSS is an invaluable advancement in
medical technology that aids both patients and doctors immensely. I see eye
to eye with Stirling in his belief that the daVinci robot is a benefit to society.
Therefore, patients should try to overcome their apprehensions about this
technology since there are fewer risks and less recovery time.
Literary Devices that Enhance Writing
Many authors use literary devices, even when writing non-fiction, to enhance
their presentation to the reader. Here are just a few examples below:
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Repetition: When an author intentionally repeats sounds, words,
phrasing, or concepts to create unity and emphasis.
?
Framing: Including information or an anecdote in the introduction and
then circling back to it in the conclusion.
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Figurative Language: When an author uses words that depart from their
literal applications, so as to achieve special meanings or effects. Below
are just a few common examples:
o Hyperbole: Greatly exaggerating a point in order to intensify the
speaker’s feelings or convictions. It can be used for serious, ironic,
or comic effect. Examples: “I’ve already seen that show a
hundred times.” “She ran faster than lightning.”
o Metaphor: A figure of thought in which one kind of thing is
compared to a markedly different object, concept, or
experience; the comparison is usually implicit. Example: “Her eyes
were two shining emeralds.”
o Simile: A figure of thought in which one kind of thing is compared
to a markedly different object, concept, or experience; the
comparison is made explicit by the word “like” or “as.” Example:
“Her eyes were like two shining emeralds.”
o Personification: Attributing human qualities to an abstract
concept, animal, or inanimate object. Example: “Death came for
me. He was hovering over me constantly that week.”
o Pun: A play on words that are either identical in sound or very
similar in sound, but are sharply diverse in significance. Examples:
“She had a photographic memory but never developed it.” “His
sins were scarlet, but his books were read.”
Comparative Rhetorical Analysis
You have been exploring the topic of comic books and graphic novels, and have read four articles:
1. “A Comic-Book World” by Stephen E. Tabachnick
2. “Beyond Graphic Novels: Illustrated Scholarly Discourse and the History of Educational
Comics” by Aaron Humphrey
3. “How Graphic Novels and Comics Can Move a Story” by Melina Delkic
4. “The Art of Words and Pictures” by Rachel Cooke
Choose two articles—either #1 & #2 or #3 & #4—and write a comparative rhetorical analysis, answering
the following key question:
Key Question
Of the two articles, which author crafted a more effective argument, and why?
? Purpose: Analyze and evaluate rhetorical choices in complex traditional texts (SLO #1).
? Audience: Someone who is interested in comic books and graphic novels but unfamiliar with the
articles.
? Point-of-View: 3rd person (avoid “I” or “you” pronouns in this paper)
? Requirements:
o The MLA-formatted essay must be 1,500-2,000 words. No Works Cited page is necessary
since I provided the articles for you.
o Students must highlight their essays in Microsoft Word or Google Docs using the pattern
below before submitting the rough draft or final draft on Canvas. In both the rough draft
and final draft submission area, there is a highlighted student sample to help you with this.
?
Thesis=Yellow (Introduction)
?
Topic Sentences=Green (One per body paragraph)
?
Topics=Bold (One per body paragraph)
? Tips for Being Successful:
o Your essay should focus on evaluating the authors’ arguments for effectiveness and should
avoid personal opinions regarding the topic of comic books/graphic novels. In other words,
this is not an agree/disagree exercise.
o Choose an effective structure for your paper. Here is a suggested pattern:
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Introduction:
?
Begin with 1-2 sentences about the topic: comic books/graphic novels.
?
Summarize each of the articles and consider addressing T-GAP for each one
at this point. In other words, briefly summarize each author’s tone, genre,
audience, purpose, and 1-2 main claims they made in their articles.
?
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End with a thesis statement that answers the key question specifically.
Body Paragraphs:
?
Aim for 4-6 body paragraphs.
?
In each topic sentence, be sure to address BOTH articles, and make a claim
about which one did a better job using the strategy you are going to discuss.
?
Below is a list of possible questions you could answer in your body
paragraphs. Choose one per paragraph:
o Which author had stronger claims and a line of reasoning?
o Which author had reasonable assumptions?
o Which author had stronger evidence?
o Which author had more effective or varied organizational strategies?
o Which author used the rhetorical appeals more effectively? (You can
cover all three appeals in one paragraph, or you could split them up
over several paragraphs).
o Which author avoided fallacies or had fewer fallacies? (If neither
article contained fallacies, then don’t use this topic.)
o Which author had more effective literary devices?
o Which author acknowledged a counterargument and provided a
refutation? If both, which one did it more effectively?
?
Conclusion:
?
Begin by restating your thesis in different words (do not copy and paste).
?
Reiterate your key points.
?
End with a global (general statement) about the topic of comic
books/graphic novels or the importance of rhetorical analysis.
o In the end, be sure to avoid claiming one article was perfect and the other was
completely ineffective. Acknowledge the strengths and weaknesses of both, and then
make an informed decision about which article was more effective overall.
1
“A Comic-Book World” by Stephen E. Tabachnick
IN THE PAST FEW YEARS, many excellent films have been adapted from equally excellent
graphic novels–for instance, Max Collins’s Road to Perdition, John Wagner and Vince Locke’s A
History of Violence, Alan Moore and David Lloyd’s V for Vendetta, Frank Miller’s Sin City, and
Daniel Clowes’s Art School Confidential. Several more films made from graphic novels-including an adaptation of Frank Miller and Lynn Varley’s retelling of the Greeks’ stand against
the Persians at Thermopylae, entitled 300–are also on the way. Yet another graphic novel, Art
Spiegelman’s Maus, has won the Pulitzer Prize and was the subject of an exhibition at the
Museum of Modern Art in New York. Alan Moore and Dave Gibbons’s Watchmen has achieved
cult status on university campuses. Is this recent popularity of the graphic novel in Hollywood,
with prize and museum committees, on campuses and, it must be added, in chain bookstores, an
instant trend that will soon pass, or does it point to a deeper, more lasting shift in our culture?
My fifteen years of teaching this new genre at the university level have provided some hints of
an answer to this question. The excitement of newness alone is not very lasting in academe, as
elsewhere. But instead of sputtering out like other trendy fireworks, the graphic novel has been
steadily gaining in brightness among audiences both inside and outside the academy. Why? My
conclusions to date, which have not and probably will never pass the test of scientific scrutiny,
but which seem sensible to me, follow.
First, it seems to me that the graphic novel represents the answer of the book–and people who
love to read and make books–to the challenge of the electronic screen, including film, television,
the Internet, and video games. Just as the theater’s survival was challenged by the rise of film,
which led playwrights and theater crews to create new techniques and special effects, so
traditional literature and the book medium in which it exists have found a way to combine their
strengths with that of painting, another threatened medium in the electronic age, and to meet the
screen on its largely visual ground while retaining the pleasures and advantages of the book.
Literary books can offer depth, subtlety, privacy, and intimacy. They also offer an experience
controlled by the reader, who can open and close a book at any time, unlike the film or TV
viewer, who must follow a film or television show more or less continuously while it is being
screened and finds interruptions a disservice. Yet the advantages of the electronic media are
many: presentations in the electronic media are relatively concise and offer speed of
apprehension, are relatively easy on the eyes compared to print (except for some badly
illuminated computer screens), include sound, and can portray such things as subtle facial
expressions and landscapes better than literature can. In the form of video games, they also offer
interactivity. Whereas the graphic novel cannot include sound, it provides many of the
advantages of both print and electronic media while creating a unique and subtle experience all
its own (including strikingly lettered indications of sound). Whether we’re dealing with
Watchmen (known as the Ulysses of the graphic novel for its subtlety, stylistic variety,
philosophical reach, and depth of characterization, and which is much more approachable than
Joyce’s Ulysses) or Marjane Satrapi’s Persepolis–a stark and harrowing look into what it was
like to grow up under the Shah of Iran and then Khomeini–the graphic novel gives us the
subtlety and intimacy we get from good literary books while providing the speed of apprehension
and the excitingly scrambled, hybrid reading experience we get from watching, say, computer
screens that are full of visuals as well as text.
2
The graphic novel also provides something else, as Marshall McLuhan noted long ago and Scott
McCloud has since reiterated: imaginative interactivity. Comics for McCloud constitute a Zenlike “invisible art,” which makes use of the blank spaces, or gutters, that exist between panels
and which are the very definition of the unique comics experience. According to McCloud, the
reader must fill in these blanks, thus imagining a good deal of the action that takes place in
comics. It follows that the mental interactivity of the reader with a graphic novel is much more
pronounced and essential than that which occurs when he or she watches a film or highdefinition television, in which there are ordinarily no blank spaces for a reader to fill in
imaginatively. Thus, the graphic novel routinely manages to provide a powerful interactive
experience that has something in common with the interactivity of even that most interactive
genre of all, the video game.
It is auspicious, indeed, for those who value books and reading that the book has managed to
offer this new, hybrid form of reading that combines visual with verbal rhetoric, for the screen is
a very powerful competitor–seeming to threaten, at times, the erasure of reading altogether,
except perhaps among those people (usually of an older generation) most devoted to it. Even
people like myself, who value traditional reading enormously, often find it more appealing to
surf the unique blend of text and picture that is the Internet rather than to read a book when
suffering a spell of insomnia. Video games are hypnotic, to judge from the scores of young
people playing them devotedly in shopping malls. Television is actually addictive, as several
studies have shown. Films provide a great Friday-night social experience. Therefore, it is no
wonder that, owing to the impact of these various visual media, from year to year students
display less and less patience with unillustrated texts, especially long ones; teaching Moby Dick
or Paradise Lost is now a job that takes far more persistence, devotion, and flair to perform
successfully than was the case in the past. Even with the best teachers, many students cannot
now rise to the challenge of reading pure texts. Because of the influence of the electronic screen,
that form of reading is slowly being lost, except for a few specialist readers, much like the
amateur playing of classical piano, which is now a vanishing art. The new hybrid visual and
verbal reading–different from traditional reading but fortunately no less subtle, intelligent, or, in
its way, demanding–is rapidly taking its place. That is why, I believe, English departments-rather than art or communications departments–are leading the movement into the teaching and
study of the graphic novel. English departments are book-oriented, students are reading pure text
much less than they used to, and English departments are trying to find a way to react to this
trend in order to ensure their own survival.
It is only honest to admit that even the most motivated readers, whether they are twenty-five or
sixty-five, can become physically exhausted when reading pure text in books and staring at those
little black marks on white paper for long periods with no visual relief. A long, un-illustrated text
takes a long time to read, and many people don’t quite have the stamina or, more importantly, the
taste for that anymore. They just don…
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