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Rhetorical Analysis (RA) Shorts
English 350Nancy Armstrong-Sanchez
Rhetorical Analysis (RA) Shorts ~~
Worth 8 points each
Directions: Using the principles of analysis listed below, construct a Rhetorical Analysis for assigned readings/films/events.
https://www.npr.org/sections/codeswitch/2013/04/13/177126294/five-reasons-why-people-code-switch
The directions in the Weekly Folders will guide you towards the use of different tools of Rhetorical Analysis. For example, RA 1 will focus on examining “Purpose” & “Audience.” Please see questions listed on pp 2. to help you develop your analysis for each RA.
For each RA, students will follow MLA formatting and include at least one direct quote and/or paraphrase + “Works Cited” page. For MLA formatting and citation guidance, please see the materials listed on BB. (For your review, I have also provided some resources & a sample below.)
Each RA should be @250-300 words. Please see below for “RA Suggested Format.”
RA Suggested Format
Section Information to include
I. Topic Sentence Overview: Include Title, Author & Brief Recap
II. Analysis using Evidence/Support Analysis Tools: Purpose, Audience, Appeals (Ethos, Pathos, Logos), Stance, Genre, Tone, Language, Structure.
Evidence/Support: Examples, Specifics and/or Quotes
III. Concluding Sentence Reflective/ evaluative commentary: Examples:
“By using humor, the author is successful in reaching the audience.”
“By relying on the appeal of logos, the author makes a convincing argument about conservation.”
“The author’s purpose is never clearly stated, so the story/video/blog is confusing and unclear.”
BASICS OF RHETORICAL ANALYSIS: Questions to ask
Determine what the writer’s PURPOSE is. What, specifically, is the piece trying to get us to think, feel, or do?
Determine who the writer’s AUDIENCE is. Are they writing to people who they think agree with them, or disagree? How can you tell? What else can you tell about the audience?
Who is the intended audience? What values does the audience hold that the author or speaker appeals to? Who have been or might be secondary audiences?
APPEALS: Determine what the writer tries to DO to accomplish that purpose with that audience – their rhetorical moves. EVERYTHING the writer does, all of these rhetorical moves, will be some variation on these three basic tools of rhetoric:
LOGOS – ask yourself: What evidence does the writer give that their point is true? And is this evidence good? Is the warrant in the argument good?
CLAIM: You should only listen to me.EVIDENCE: Everything you see and read on the news is fake. B.S.
CLAIM: I’m never gonna find somebody.
EVIDENCE: That date was a disaster. Could be true
PATHOS – ask yourself: What feelings is the writer trying to trigger in the audience, and why? How does triggering this feeling help them reach this goal?
ETHOS – What does the writer tell us about themself, and why? How does this help them reach their goal? Also: What group does the writer try to bring their audience into as part of “US” (writer and audience)? What does this group think and believe?
Determine the writer’s STANCE. What are the author’s attitudes about the topics? Does the stance seem to be affected by the relationship with the audience?
Determine the writer’s TONE. How is the author’s tone communicated to the audience? Is the author constructing and piece that is humorous, serious, sarcastic, etc.? Review the word choices, the examples given and the overall organization of the piece; where do you see the tone most clearly communicated?
Explore the writer’s use of LANGUAGE. How formal/informal is the language? What specialized vocabulary is used? What other language features do you notice?
Determine what the writer tries to DO to accomplish the goals listed above; how does the author STRUCTURE their piece? How is the piece organized to convey its message? How does the structure facilitate the purpose of the information in the piece? How are other pieces in this genre typically structured?
Grading Range:
Stellar = 8 points; this RA
demonstrates a dynamic understanding of/connection to the material, making connections between, through and beyond the materials.
supports assertions and conclusions with robust examples/discussion;demonstrates a good faith effort by dynamically employing the analysis tools of the current unit; and,
is largely free of errors in grammar, usage, and mechanics.
Strong = 6 points; this RA
demonstrates a robust understanding of/connection to the material;supports assertions and conclusions with adequate examples/discussion;demonstrates a good faith effort by dynamically employing the analysis tools of the current unit; and,
is generally free of errors in grammar, usage, and mechanics.
Satisfactory = 4 points; this RA
demonstrates a basic understanding of/connection to the material;demonstrates a good faith effort by marginally employing the analysis tools of the current unit;
supports assertions and conclusions with minimal examples/discussion; and,
may have some errors, but generally demonstrates control of grammar, usage, and mechanics.
Developing = 2 points; this RA has been minimally completed; however,
understanding of and connection to the material could be developed further;
tools of analysis could be articulated in greater depth;
assertions and conclusions could be expanded further; and,
mechanical/grammatical errors are numerous.
Storytelling and Digital Marketing in Luxury Products
English
Students Name
Institution of Affiliation
Course Title
Date
Storytelling and Digital Marketing in Luxury Products
As the technology across the globe has been advancing over the past decades and is continuing to be sophisticated at a significant rate, the issues that revolve around product marketing as well has been proving to be more difficult, and as a result, a call for a shift in the advertisement modes has been more prompting. The article covers the details regarding storytelling and digital marketing as a way of marketing luxury products. People are no longer interested in billboards as a method of advertising as very little time is used by people walking across the roads. At this era, everyone is busy but still connected to the internet. This is the point that makes it more interesting because, despite everyone being too busy, they will always try to squeeze and make a break out of the strong shift and find a better way of relaxing. Luckily enough, everyone is signed in one or more social media accounts such as Facebook, Twitter, YouTube or even Instagram and this makes digital marketing the most appropriate method of advertising products due to the extensive coverage as well as the potential for a large group of customers.
The article in discussion is “Storytelling and Social Networking as Tools for Digital and Mobile Marketing of Luxury Fashion Brands” by Romo et al… The main reason as to why I got interested in analyzing and discussing this article is due to its focus on a unique way of advertising that entails the use of storytelling and social networking in relation to marketing. Analyzing this article will enable and at the same time convey important knowledge to the readers concerning storytelling and digital marketing in the promotion of their products.
In “Storytelling and Social Networking as Tools for Digital and Mobile Marketing of Luxury Fashion Brands,” Romo et al. claim that digital marketing is vital to helping brands reinvent their marketing campaigns and strategies to appeal to their upcoming and younger audiences. The author’s state digital marketing is an essential tool to help luxury brand leaders communicate with their audiences. They claim that storytelling is a way that brands can interact and build engagement with consumers. To illustrate this claim, the authors further explain that these strategies are not easily carried out as luxury brands require a more detailed approach to branding. The authors have found that among others, the principle of storytelling is one of the critical strategies in digital marketing and that the principle can be found in video marketing, social media events, as well as the exhibitions that are open to the public and to which, tend to interact with the public and show its history.
In the first claim, the authors state that there is a general agreement on the lack of “substantial” definitions of luxury since the luxury can be defined based on the general intrinsic characteristics of the products, techniques used or the techno-economic characteristics of the industry. My claim is that that there exist vivid evidence that prof the authors’ claim of the general agreement on the definition of luxury. The first evidence is from a subjective point of view where the term luxury could refer to “Things you have that you do not think you should have.” In another evidence, the author states that luxury objects should be ‘recognizable, stimulate a customer’s emotional response and be incorporated into the consumers’ lifestyle.’ Besides, the author relates to the work of Bastein and Kapferer that reveal that ‘price, quality and exclusivity’ were the three main concepts that were associated with luxury, along with desire and longing. Another evidence that sums up the definitions of luxury is that by Wong and Ahuyia who chose a luxury brand with the qualities of being utilitarian, emotional and symbolic dimensions that underlie their orientation. From the above evidence, it is true that the authors have supported their claim for the lack of an evident existence of a definition of luxury and therefore a general description of luxury with the common denominators of beauty, rarity and quality is accepted.
In another claim, the authors state that there are two models of brand strategies carried out by brands that lead the luxury industry. My claim is that the authors have supported their claims with the two models. The evidence from the text include; In the first model are the brands that are based on taking the quality of their products to the extreme, making a cult and their heritage. The heritage is nourished by the history of the brand, its founders and its new creators thus transmitting the personality of the brand and its values. The second model has its origin from the United States, and since it lacks own history, there is an invention of the history of the brand. The strategy focuses more on imagination, creativity as well as experimentation and thus transmit the values and the brand is nourished by storytelling. Based on the above evidence, the authors have established concrete evidence to support their claim of the existence of the two models used in the business promotion.
In another claim, the authors argue that the traditional marketing strategies cannot be applied to luxury fashion and so they created the anti-laws to support their claim. My claim is that there is enough evidence to support the authors’ argument. In the first evidence is the law of non-positioning whereby it states that for luxury products, there is no comparison as luxury is never superlative comparative. Another evidence is that luxury does not have to respond to the increase in demand like the traditional marketing, this is because if it responds to the demand, then it will lose sales and prestige and as well create tension in customers. Instead, the luxury responds to dream and not a need as the reaction to increase in demand will lead to the loss of its uniqueness, essence and value to the prospective customers who seek to live their dreams through luxury and brand. In another evidence, the law suggests that luxury fashion has to dominate the customer, not arrogantly, but luxury brands, unlike the rest, must be those who take the role of advisors, educators as well as social guides as the customer who buys luxury fashion is buying identity, culture, art, and social status.
The other law makes it difficult to buy from customers as luxury has to be something that the customers must have earned, the more difficult the access to a luxury product, the more desirable it will be for its customer. The other law stipulates that luxury sets the price and not the other way around and at the same time, there is no unique selling position. The other law is communication to those who are not your customers or target audience. Luxury satisfies the values of personal and social uniqueness, if the brand is only communicated to its target audience, the public inaccessible to these brands cannot recognize them, then loses its social value to its customers. The other law implies states that ‘do not relocate factories’ as relocation makes the brand cease being a luxury. The last law state that sells marginally on the internet as the sales in the internet increase the after year sales. From the text, there is compelling evidence that supports the authors’ claim.
Based on the article, there is a higher chance of changing the way things are done. The reason is that one has to understand the type of product they are dealing with and especially if they are dealing with the luxury products, they will have to adopt a different strategy. At the same time, the article will affect the mode of doing this job as individuals dealing with the luxury products were not yet aware of the basics that influence the market for such commodities. The luxury products are unique and do not respond to demand, and at the same time, they set the prices and not the other way round, and this makes it clear that luxury doesn’t have to compete with demand so that they don’t lose their value.
From this article, there are many deductions that the readers can make and some of them include the general definition of luxury, laws, and anti-laws that guide the fashion luxury as well as the most effective method of marketing the luxury commodities. The digital and mobile strategies in luxury fashion marketing are significant for the innovation of communication, sales, and distribution systems. Despite the digital technology previously proving challenging to work for the luxury industry, the introduction of mobile technology has completely changed the perception with art galleries being displayed in mobiles and thousands of products have been auctioned through the internet. The principle of storytelling is among the important strategies in digital marketing as it can be traced in video marketing strategies, social media events as well as exhibitions. In the field of marketing, convincing the consumers to join a brand is key to the effective sales of a product, and this is significantly achieved through the use of storytelling principle. Besides, digital and mobile marketing strategies conducted through blogs, digital forums, and social networks create parallel communication with the consumers, interacting with them and making them part of the brand.
Work Cited
González Romo, Zahaira Fabiola, Irene García-Medina, and Noemí Plaza Romero. “Storytelling and Social Networking as Tools for Digital and Mobile Marketing of Luxury Fashion Brands.” International Journal of Interactive Mobile Technologies 11.6 (2017).
Use MLA Documentation Style
ENGL 210: English Literature IFall 2018
Assignment for Essay #2
Due date: Friday, November 30, 2018 (submit an electronic copy to Safe Assign)
Use MLA Documentation Style
Your second essay should be a focused, well-organized and polished piece of critical writing, of about 1000 words (about 4-5 typed, double-spaced pages including the works cited page) that addresses one of the following topics:
Tragic heroes: The title characters in Marlowe’s Doctor Faustus, and in Shakespeare’s Othello can both be considered as tragic heroes: men of considerable stature who fall because of a tragic flaw. Write an essay in which you explore the differences between Faustus and Othello as tragic heroes, drawing conclusions about how those differences contribute to the sense of tragedy in each play.
Diabolical characters: Both Marlowe’s Doctor Faustus and Milton’s Paradise Lost present diabolical characters who contribute to or cause the downfall of the main characters of these literary works. Write an essay in which you contrast the role of Mephastophilis in Marlowe’s play with the role of Satan in Book 9 of Milton’s epic poem, drawing conclusions about which character bears more responsibility for bringing about the main characters’ downfalls.
Women: In Book 9 of Milton’s Paradise Lost, Eve is the first to engage in the disobedience that causes Adam and her to be exiled from the paradise of the Garden of Eden. In Shakespeare’s Othello, Iago convinces the title character that his wife is being unfaithful to him, even though the audience of the play knows that she is not. Write an essay in which you contrast the actions and character of Milton’s Eve and Shakespeare’s Desdemona, drawing conclusions about how much responsibility they bear for the unhappy outcomes in Paradise Lost and Othello.
Outsiders: In Gulliver’s Travels, Jonathan Swift writes of the adventures of Lemuel Gulliver as he sails the seas and finds himself stranded on several different islands where he has to survive as an outsider. In Part 2, “A Voyage to Brobdingnag,” Gulliver tells of his experiences after a shipwreck when he finds himself on an island where the inhabitants, the Brobdingnagians, are huge (but human shaped) creatures. In Shakespeare’s Othello, the title character Othello is also an outsider, a Moor, who is the military commander in the European nation-state of Venice and is sent to Cyprus to defend Venice’s interests there. Write an essay in which you contrast the treatment of Gulliver by the Brobdingnagians with the treatment of Othello by the Venetians, drawing conclusions about the significance of the differences in their treatment.
Marriages: In both Shakespeare’s play Othello and William Hogarth’s story in pictures, Marriage A-la-Mode, marriages turn out badly, with both husband and wife dead. Yet only one of the two works is tragic. Write an essay in which you draw conclusions about what makes the marriage of Othello and Desdemona tragic, while the marriage of the Squanderfields in Hogarth’s work is not.
Whichever topic you choose to write about, your essay should represent your best work. That is, its ideas should be clearly expressed, it should conform to the standards of formal written English, and it should be carefully proofread before it is turned in. Most importantly, you should show that you know the details and themes of the literary works and can explain their significance. You should use a few brief, but well-chosen quotations from the literary works to illustrate the points you make – and since you will be quoting the works you write about, you should include a works cited page as part of your essay.
Your essay should be your own work and should consist of your own words, with just a few quotations used for support and illustration. You may use outside sources in this essay; however, those sources should be authoritative and used judiciously, to develop your own thinking and to support your own claims. You SHOULD NOT quote or cite study guides, such as those from Sparknotes, Shmoop, Bookrags, enotes and so on. If you look at study guides as you are reading the literary works to help you gain a better understanding of them, be sure to close those study guides before you begin writing your essay. Keep in mind that a student will earn a grade of “zero” for a plagiarized essay (all or part).
There will not be an opportunity to revise for a higher grade after your essay has been turned in, but I will be glad to schedule a conference to help you with your draft before the essay is due. Remember also that there are other resources available for help with writing: the Writing e-Portfolio Studio in Room 113 of Harris Hall offers in-person tutoring, and Smarthinking.com offers on-line assistance.