Wednesday, March 28, 2012

Pathos in "Lynch Law"

Someone familiar with the concept of pathos as discussed by Killingsworth would find it hard not to notice appeals of this concept within the text of "Lynch Law" by Wells-Barnett.  Wells-Barnett also employs appeals to logos in her text through the use of the tables reporting the number of lynchings per state as well as the distribution of supposed crimes of which those individuals were lynched for.  However, Wells-Barnett's appeals to logos come more into light through her discussion of the specific stories behind some of those numbers.  The details she briefly outlines of the brutal fate of a number of individuals attempts to appeal to the morality of the reader.  In describing the progression of lynching throughout history to become more and more inhumane over time Wells-Barnett I think is trying to demonstrate the need for the changing of the "unwritten law."  By appealing to the emotion of the reader in these ways I believe Wells-Barnett is positioning her readers as participants in national identity.  By starting the paper with the word "OUR" and attempting to place blame on the country as a whole she is linking the readers to the identity of the country that has been created, one where lynching is allowed. 

Rhetoric: Appeal to time

Killingsworth has said that progress has become an ideology, and given that rhetoric is born of a need for change, rhetoric not only associates with the present through the urgency of that need, but also the future, and the past. Conceivably, it is the ideal of modernity that perpetuates rhetoric's focus on "now". 

The Wells-Barnett Polemic

Wells-Barnett presents her audience with a polemic.  "OUR" country, she says, is guilty of a crime.  It's affronting, combative.  It forces the people of our country to bear the mark of the accused, and to feel ashamed.  She cites numbers--there are comprehensive tables of data backing our guilt.  And she appeals to the present with this polemic to kindle collective social consciousness. 
 

Rhetoric of Crisis

The concept of Rhetoric of Crisis is seen heavily in both Lynch Law and Abigail Adams. We in Lynch Law how the Country is in a time of Crisis where we have unjust inequality that is occurring thought out the streets of the south where innocent humans being are being tortured and Lynched just because of the color of their skin. Lynch Law as a article highlights a time period where society see a time period where one race in under crisis. We also see Crisis in Abigail Adams letters to John Adams where she outlines the sickness and the hardships the people on the home front are dealing with on daily basis. The idea of Rhetoric of Crisis is seen in almost majority of literature that one can read today. 

Lynch Law

Wells Barnett in “Lynch Law” outlines the exigence issue of inequality in the United States between colored people, non-colored people and the issue of race. He outlines the cruel way that colored where treated and how they were lynched for no apparent reason. Wells does a fantastic job of outlining the common way (topoi) that people where thinking back in the 1890 and 1900’s. We see the idea that it was culturally acceptable to Lynch a colored person in some parts of the United States. Wells also uses a strong amount of Pathos to denounce the act of Lynching and to end the “Unwritten Law”. The use of pathos really helps the audience feels an emotional connection to the idea of Lynching and how wrong it is to Lynch someone. 

Abigail Adams

This week in class we read letters between Abigail Adams and her Husband John Adams these letters where written during the formation of our new country and totaled a total of 300 plus letter correspondence between the two. There is a subtle beauty in the letters that Abigail sends to her husband each one carrying a hidden agenda and a purpose that is deeper than just the letter. For the first time in history that I can recall, we get to see a woman’s point of view and a picture of how the home front was during the Revolutionary War. The way Abigail writes she meticulously details all the events which are going around on the home front, she opens up to the reader about her strong political views and she expresses them to her husband in her letters. In the letters that Abigail Adams sends as a reader you get to experience the hardship the fear that the people where facing during the Revolutionary war. Abigail Adams inadvertently uses a lot of rhetoric of crisis whenever she talks about the home front and how people where coping.   

Pathos in "Lynch Law in America"

   Pathos is defined by Killingsworth as "an appeal to emotions" Perhaps one of the most obvious devices Wells-Barnett uses in her article is pathos. She uses words with negative connotation to make the American public feel shame.
    Within her first paragraph she uses the phrase "unspeakable brutality of an insane mob" and the words "savagery" and "terror" Wells-Barnett uses words that appeal to emotions. Patriotism isn't an emotional necessarily, so perhaps she uses shame and guilt to make people feel bad about not being patriotic. She says that lynching is the shame of our country and that it must end. The use of the words America and American are used frequently, this helps to create a social consciousness and create a sense of unity, in an emotional sense. She uses shock value in to appeal to emotion as well. Her gruesome descriptions of burnt bodies and staggering statistics to shock Americans.
     Pathos is perhaps the most effective device in this piece to prove the authors point and convince them to be persuaded to her side of the argument.

Rhetoric of Crisis and Complex Appeals to Time in Lynch Law


In “Lynch Law” by Ida B. Wells-Barnett, the issue of the continued practice of lynching in the United States is addressed. Rhetoric of crisis, defined by Killingsworth as an appeal to the present time (Killingsworth 42), is used when Wells-Barnett describes how, despite the passage of time and America’s supposed title of “land of the free and home of the brave” (Wells-Barnett 3), many people are still using an “unwritten law” as justification to kill people with lynch mobs mobs, claiming it to be justice, even though the accused gets no right to a fair trial, and often is not even at fault. Wells-Barnett also uses complex appeals to time, defined by Killingsworth as when time is portrayed with value and a need for change is emphasized (Killingsworth 39). The reader is urged to recognize that much time has passed, and that America should have long since stopped the practice of lynching. Wells-Barnett provides statistical evidence indicating the amount of people who are killed unjustifiably, including children (Wells-Barnett 2-3). These appeals to time are used to urge the reader to take action and to recognize that this practice needs to end, and that it has been ignored for far too long. 

Rhetoric of Crisis in "Lynch Law in America"

"Lynch Law in America" was written in the 1900s in a time of crisis. Lynchings were extrajudicial executions that were prominent at the time the article was published. According to Killingsworth's theory of the appeals to time, the rhetoric of crisis is used to see a particular moment in time as a crisis point and decisive action is required. This article was written with this concept in mind.

Ida B. Wells-Barnett clearly wished to call for action to stop lynching as they were unjust and had cost the lives of many innocent men, women, and children at the hands of mobs. These executions were also fueled by racism towards the black community.

The author provided examples for the many different ways people were tortured and executed to allow the readers to realize that what they had been doing were wrong. By making a claim that goes against the common beliefs (people support the executions because they simply believed the executioners' lies and fake charges against the victim), the author brought attention towards her article which talked about the present crisis.

Towards the end of the article, a quote from the French press regarding the lynching incidents in America calls for action and encourages the white community in their homeland to ponder upon the implications of their actions.

Resisting Progress in "Letters to John"

Abigail Adams, in her letter "Man is a Dangerous Creature," describes America as a "great empire" that is "building up." With the oncoming of a new empire, however, she expects lots of problems to arise. These problems include resistance by Americans to change. Adams does not think they will take well to having their freedom restricted. She thinks many will find the new, improved government to be futile. This puts the "great empire" in jeopardy... will it hold and be supported by a newly restricted community of Americans, or fall apart?

Writing Techniques in "Lynch Law"


The topic of lynching was a very touchy subject back in the 1900s, especially when discussed by a black woman.  Ida B. Wells-Barnett eases a lot of the tension associated with this topic by being very careful with her presentation of the subject matter in “Lynch Law in America”.  She never says outright what her position on lynching is, nor does she name a specific group of people as her audience.  Wells-Barnett’s exigence and audience consciousness allows her to present her views to a broad spectrum of people.

Wells-Barnett’s exigence is, first and foremost, to stop lynching.   Though she never says outright that that is what she wants, her choice of vocabulary makes it clear.  To make known her stance on the issue, she uses words with strong connotations.  Words such as “barbarism,” disgrace to civilization,” butchery,” “horrors,” “victims,” and “murder” describe different aspects of lynching, and in doing so she puts a bad name to the act.

Audience consciousness is also extremely evident in Wells-Barnett’s writing style.  This piece of persuasive literature was written from a seemingly objective point of view, almost as if she were a complete outsider reporting in on the facts of what has occurred.  This effect allows her to be an “anonymous” author.  What I mean by that is she can relate to everyone, because she presents herself as no one in particular.  There is emotional content (explicit details of lynching), statistical content (amount of lynching and where they occur), as well as common knowledge content (current events).  By doing writing in an almost impersonal way, Wells-Barnett was able target multiple audiences such as politicians, families who have suffered the effects of lynching, the apathetic common man, and even the lynching gangs themselves. 

By using word choice and writing style, Ida B. Wells-Barnett was able to reach a vast audience and deliver her specific message with a strong point of view.

Appeals to time in Lynch Law

Lynch Law is a great example of both rhetoric of crisis and rhetoric of forward motion. The crisis in Lynch Law is the "unwritten law" allowing people to lynch "offenders" without trial. This law allows innocent people to be hanged for crimes they did not commit. With no investigation into the alleged crime, anyone could make up stories about anyone else and have them lynched. Such was the case between white women and black men. According to Wells-Barnett, if a white women said a black man disrespected her, even if it didn't happen, he would most likely be hanged.

Lynch Law also shares with its audience the story of lynching. Wells-Barnett tells her audience lynching's origins, out in the west, and why it began. She tells the readers about the hangings advance into the south and about its use by white supremacy groups such as the KKK. It takes us from the beginning to the end of lynching.

Wells-Barnett's Exigence and Rhetoric of Forward Motion


I believe that Wells-Barnett’s exigence in “Lynch Law in America” is one of promoting social consciousness among Americans.   In her work, she brings to mind the last lines of our country’s national anthem, ‘for the land of the free, and the home of the brave.”   She then goes onto say, “Brave men do not gather by thousands to torture and murder a single individual. . . Neither do brave men or women stand by and see such things done without compunction or conscience, nor read of them without protest” (Wells-Barnett, 3).   While there are obvious underlying tones in her work that prod at the inequality between races and the desire for civility between blacks and whites, I think that Wells-Barnett was striving to achieve something different.
 
Her writing attempts to emphasize not the overall suffering of African Americans due to lynching and “unwritten law,” but rather the irrationality of the human race to allow something like this to happen; especially, the irony  of white Americans claiming to be brave, whilst simultaneously promoting this “unwritten law.”  The most prominent of Killingsworth’s appeals to time that is demonstrated in Wells-Barnett’s piece is definitely the rhetoric of forward motion.  An example of this appeal to forward motion occurs at the end of the piece when Wells-Barnett claims that, “. . . until Americans of every section, of broadest patriotism and best and wisest citizenship, not only see the defect in our country’s armor, but take the necessary steps to remedy it” (Wells-Barnett, 4).   This is a clear appeal toward improving the situation in America and almost a plea by Wells-Barnett for citizens to use their conscience in coming to the realization of her plea.  

Exigence and Audience Construction in Lynch Law in America

     Perhaps out of all the pieces we have read thus far, the Ida B. Wells- Barnett article "Lynch Law in America" has the most clear exigence. The author has an incredibly clear purpose. Wells-Barnett is persuading her audience to rethink the "unwritten law". She makes appeals to ethos, pathos, and logos to shock her audience into shame almost for letting lynching occur. Her purpose is to change the way Americans look at the whole situation.
      Her audience is clearly a racial divided America. Specifically white people who lynch Blacks. But upon looking deeper the audience may also be Black America. To get them angry and inspire a change,  her physically present audience, the readers, was more than likely black Americans and Americans supportive of change. Her constructed audience was White Americans who she felt she needed to convince. The article "Lynch Law in America" offers an interesting view of an actual audience vs. the constructed audience in the author's mind.

Wells Appeals to Logos Through Sarcasm

Wells is able to appeal to logos(shared logic,values) by appealing to her readers ability to think socially and that they are smarter and more educated to know better than the current socially accepted behavior.

Wells uses examples that aren't exaggerations yet makes a mockery of the treatment of colored people. Wells describes, "This is the work of the "unwritten law" about which so much is said, and in whose behest butchery is made a pastime and national savagery condoned"(Wells-Barnett 1). She speaks of lynching as a pastime as if its a hobby.

Wells then continues saying, "The sentiment of the country has been appealed to, in describing the isolated condition of white families in thickly populated negro districts; and the charge is made that these homes are in as great danger as if they were surrounded by wild beasts (Wells-Barnett 2). She referes in sarcasm to the black families surrounding the white families as wild beasts.

From both of these sarcastic remarks from Wells she appeals to logos because the individual can see the outrageousness and exaggeration of the situation and current state of attitude toward the negro. She asks the reader to have common logic and values of how to treat people to know better than every single negro being a "wild beast".

Common ways of thinking in Wells Barnett's "Lynch Law"

The common ways of thinking also known as topoi in Lynch Law in America written by Wells Barnett is very different than how we think of african americans now. She refers to the late 1800's where lynching was very consistent in a number of states such as Tennessee and Alabama. The white men of these states actually thought it was acceptable to lynch someone of color for an abundance of reasons. Certain reasons included rape, and burglary but others were as simple as insulting women and some reasons were not even explained. They would lynch numerous people at their own will and would not even justify it most of the time. 


As Wells Barnett states in her composition, "under this reign of the "unwritten law," no colored man, no matter what his reputation, is safe from lynching if a white woman, no matter what her standing or motive, cares to charge him with insult or assault." Therefore it is evident that there was an inequality between men of color and white women, which illustrates that the lynchers common ways of thinking were to just eliminate as many african american men and women as possible. They did not have to have a reason and most of the time without a trial or the ability to defend themselves, the african american population were lynched continuously and there were an high increase in killings in these states. The real issue at hand is that these people from Louisiana and Alabama for example thought this was acceptable and continued to do it without seeing any wrongdoing in their actions. 

Wells Appeal to Pathos Through Love of Country


Ida B Wells in "Lynch Law in America", is challenging the country to come forward and take responsibility as a nation and protect its national identity. She sees the people somewhat as trendsetters as she challenges them to take action. She says, "Our country should be placed speedily above the plane of confessing herself a failure at self­ government. This cannot be until Americans of every section, of broadest patriotism and best and wisest citizenship, not only see the defect in our country's armor but take the necessary steps to remedy it"(Wells-Barnett 4). This direct statement while calling the American government a failure essentially she asks that due to their patriotism and citizenship for country they need to take action to change this for the good of the country. By making this claim rather than making it about an unfairness to blacks she can appeal to an wide range of non-colored readers.

In response to Abigail Adams


I really enjoyed Abigail Adams’s letters.  Her writing voice is so present, I feel like I got to know her a little bit through her letters.  The manner in which she speaks to her husband is completely surprising.  I had assumed that back in revolutionary times, it was still taboo for women to voice their opinions to their “Master” (Absolute Power over Wives).  However, it would have been a very bad match for one such as John Adams to have married a woman any less opinionated (I do believe he found his match).  She is not afraid to say what she thinks and feels, which reveals a great deal about her character.

Abigail Adams writing genre (letter) is an extremely personal one which allows for a great deal of transparency on her part.  She can talk about the children, the current state of affairs, or her feelings without the expectancy of being judged, because she is not writing for a large, impersonal audience.  There is only her husband, who she calls "Friend" (Remember the Ladies).  Therefore, these letters are an excellent resource because of the lack of façade paired with the truthfulness of the author. This allows us (21C. readers) so take trustworthy information about the times and about Abigail's character from her writings.
In Wells' article Lynch Law in America, I think we see a perfect example of rhetoric of crisis. Wells displays the contradiction illustrated by the cruel and inhumane lynching laws best when she states, "It was enough to fight the enemies from without; woe to the foe within! Far removed from and entirely without protection of the courts of civilized life, these fortune seekers made laws to meet their varying emergencies." She is acknowledging that the lynching laws were meant to send a message to targeted groups, or races, that Americans felt threatened by. This calls out to mob behavior and even condones it. I think also, it shows a crisis of time in the way lynch laws evolved as did early America.

Time Crisis - Up the Yangtze

In the film, Up the Yangtze, we as the audience are able to discern and uncover a number of Killingsworth's appeals to time as discussed in this week's article. Most prevalent of these appeals was the rhetoric of crisis in Yung Chang's film. One scene in particular I believe demonstrates the urgency of building the Three Gorges Dam. In this scene the camera focuses on Cindy’s home and fast-forwards through time showing the rising water level of the Yangtze around the banks of the shack. The exigence in this argument is clear, the Dam must be built quickly in order to preserve as much land as possible. The kairos of this short segment in the film, or the force of the scene, is all in the cinematography. Showing the water progression provides the audience with the appeal to crisis and urgency of time.

As Killingsworth mentions in his article, "The now-focus and crisis rhetoric...becomes even more important as we move into the twentieth century and people's sense of their own power increases with the growth of technology and with globalization." I think the same could be said about the move from the twentieth century to the twenty-first century. With a now-perspective and the increase in people’s power, it is much easier to recognize to the rhetoric of crisis that Killingsworth discusses.

Inequality of Race from Wells

While Ida B Wells touches on the inequalities of the sexes she is arguing much stronger for equality of the races. She discusses the rights of a white woman versus a black woman to show this. "If a white woman declares herself insulted or assaulted, some life must pay the penalty, with all the horrors of the Spanish Inquisition and all the barbarism of the Middle Ages." Wells is referring to a black person when saying "some life" and she uses two other past less civilized time periods as her example to condescendingly describe the current state.

Later in her article Ida B Wells talks about the rights of black women saying, "What becomes a crime deserving capital punishment when the tables are turned is a matter of small moment when the negro woman is the accusing...But since the world has accepted this false and unjust statement, and the burden of proof has been placed upon the negro to vindicate his race, he is taking steps to do so." She refers to this "burden of proof" as being placed on the negro to vindicate his race, implying that negros are already guilty before they even stand a fair chance.



Kairos and Exigence: A Powerful Combination


Killingsworth’s “Appeals to Time” article presents the idea that kairos and exigence are important issues in and of themselves.  It is necessary to choose ones argument carefully (kairos) and it is necessary to promote the urgency of one’s topic (exigence).  Therefore, when kairos and exigence work together in an argument, it proves to be extremely persuasive.

One of my favorite examples in “Appeals to Time” is Killingsworth’s explanation of Abraham Lincoln’s Gettysburg Address.  “Lincoln intensifies the argument by claiming that not just the nation but everything the nation stands for- liberty, equality, and union – risks death if the nation cannot endure.  The very principles of modern democracy hinge on the actions of this moment” (43).  Killingsworth shows, very clearly, how Lincoln the rhetoric of crisis to create forward motion, both of which are complex appeals to time.

The crisis is obvious - The Civil War.  [However, the situation for which Lincoln wrote was a dedication of funeral grounds for the fallen soldiers of Gettysburg.  Though the initial need for this speech was not to motivate (seeing as the dead do not need motivation), he grouped all the people who were present at the cemetery into one audience: “we are engaged in a great civil war” (43 italics added).] Lincoln presents this crisis as affecting all who live within the borders of the US and who still fight for “Liberty” and “equality.”  Making his kairetic rhetoric clear, Lincoln continues on (in the same sentence!) to pair it with exigence.

With the addition of a strong exigence, Lincoln makes his argument even more persuasive.  The presentation of a crisis may be moving, but how much more motivating is an invitation to action (without which “everything the nation stands for… risks death” (43)).  Lincoln doesn’t present his audience not with just any message but an urgent message (saying action must not be taken tomorrow, or the next week, or maybe the month after that, or that one can hope the issue will resolve itself; there must be deliberate action now).

These universal appeals to time reached the heart of many people.  In any form of persuasive writing, this combination of kairos and exigence is a must.  One without the other isn’t enough.  Killingsworth shows us how Lincoln used, to great success, these appeals to time, and it is a good thing to recognize the power they have in persuasive arguments.

Time as a Place in Wells-Barnett

When Ida B. Wells-Barnett discussed lynching in "Lynch Law in America", she looked at the time in which a crisis was, in her mind, evident in the extreme. She saw the crisis in the state of lawlessness and vigilantism prevalent in certain sectors of society when applied against other sectors (white lynchers vs blacks, mainly civilians), and saw the fork in the road at which society stood. 

As Killingsworth says, "The appeal to time as a crisis or time as a journey involves a metaphorical connection with time and place. The past becomes where we have been, the present, the spot where we stand now; the future, the land to which we go." (50) Wells-Barnett applies this appeal literally and obviously when she compares the lack of order vis a vis lynching to a past time, stating, "... some life must pay the penalty, with all the horrors of the Spanish Inquision and all the barbarism of the Middle Ages." (Wells-Barnett 2). Applying Killingsworth's idea, the Middle Ages and the Spanish Inquisition are places (in time) we have been in the past; Wells-Barnett sees this as a reversion to a previous place, a sort of trip backward, when the society should be moving forward, towards equality.
Well since we've talked about appeals to time in just about everything else we've read lately, I'm going to talk about appeals to time used by Wells-Barnett in "Lynch Law in America". I think that this article as a whole is a huge example of the rhetoric of crisis. Wells is arguing for something to be done against the laws (both written and unwritten) that allow lynching in the U.S and calling for a change in policy. She is also portraying the time that this was written as a time of crisis through statements such as "butchery is made a pastime and national savagery condoned."

Appeals to Time in Persepolis

      We learned about appeals to time in Abigail Adam's letters to her husband John, but I thought it was interesting to look at appeal to time in Persepolis. Persepolis offers a great example of rhetoric of forward motion.
      Rhetoric of forward motion is defined as "the motion of time, the movement from birth to maturity". This accurately describes Satrapi's novel. Satrapi uses the rhetoric of forward motion to advance her characters. The novel shows young Marji move from being a very young girl to being an adolescent. The whole of the piece is a transition of Marji's understanding of the world and it advances extremely well through the use of frames. It clearly shows the movement of time.  

Enculturation in Up the Yangtze

Having to watch "Up the Yangtze" on my own and just recently incorporating "enculturation" into my criticize analysis, I couldn't help but think how the two fit together.  The film by Yung Chang, as you should know, is about the different lives of the new workers on the boat. Two people were taught new concepts of life on the boat, but one being from a poor family. Not only did they learn more about the life around them, they also learned new ideas about their culture. (enculturation)

To me, the girl Cindy, did not like having to be around people and work with them considering she has always been around her family.  She could be shy or just not used to people her age. Anyhow, she was still working on this aspect of life, trying to better herself, and not be so homesick. Also, while viewing the film, it seemed like the boy had trouble with the task of meeting and greeting others. There was an obvious difference in language and considering he comes from a family who is not used to greeting others. Though the fact is that he was not comfortable with such a simple task. Because he wasn't comfortable with this new concept of life, he had to learn and practice it. Once he was able to better himself, he continued this process to make money, something he has never done before.

As you can see, enculturation was shown through these two peoples lives. They were introduced to different types of people and learned how to work with them. The boat was a new beginning for them. Letting them both get out of their comfort zone even though they are both from different lifestyles. The two learned how to work on things they were unaware of. Whether it was from being wealthy and feeling in control or poor and learning patience. Just by being on a boat the two got a feeling of what the world is like, culture wise, outside of their daily lives. Something they would have not learned by staying within their own lifestyle.

The Rhetorical Crisis in "Man is a Dangerous Creature"

When Abigail Adams wrote to John in November 1775, her message gravitated largely toward the question of government in the then-rebellious colonies. Her inquisitive tone and cautious input reflect the questions contemporary to that period (i.e. "If a form of Government is to be established here what one will be assumed?", among others [Gilbert/Gubar 316]). She warns, with wisdom, of the dangerous possibilities entailed in an inadequately subordinate populace ("... I fear that the people will not quetly submit to those restraints which are necessary for the peace..." [ibid]).

Killingsworth's "Rhetoric of Crisis" thus applies in a relatively obvious manner. The yet-to-be-formed nation stood at a precipice, its would-be government and power held in the hands of an exclusive group of men far away from their homes making decisions and compromises that may or may not have accurately reflected the opinions of the majority: those to whom the decisions are, in fact, not necessarily self-evident. Abigail Adams stood in the latter category, among the confused, hopeful and cautious, and she recognizes the crossroads at which the nation stood, questioning the type of governance and the force of law, stating "Tis true your resolutions as a body have heithertoo had the force of Laws. But will they continue to have?" (ibid 317). Killingsworth mentions this type of crisis quite accurately when he mentions, "They [authors] define their audiences by associating them with a present problem, a moment of crisis, and then urge them to transform themselves by choosing wisely." (Killingsworth 44) In Abigail Adams' mind, this crisis is that of the American situation in late 1775, after skirmish had broken out with the British, but before independence declared; her sole outlet and inlet is her correspondence with John, who is the intended audience: both the source of information on the situation and the only possible method of solution or discussion (solace) that she may have.

Absolutely Power Over Wives and Man is a Dangerous Creature

In Adams letter “Absolute Power Over Wives," Killingsworth's "Appeal to Time" can be used to describe "Time as Place." Killingsworth explains Time as Place as,  “the appeal of time as a crisis or time as a journey” (Killingsworth 50). In the letter "Absolute Power Over Wives" Adam's says 'ruminating upon the past, and anticipating the future, whilst you overwhelmd with the case of state, have but few moments you can devote to any individual,” (Adams 319). This example show us that Adams was currently and has been going through life without John with her and she wanted more attention from him. Another example is in the letter "Man is a Dangerous Creature". Adams says "I have sixteen from you, but wish I had many more" (Adams 317). John being gone has affected her and her being not only a wife but also a mother.

Later within the letter Adams looks at the past, while living in the present. Even while looking in the past, during the present, Adams still remains hopeful for the future. With that being said, being so caught up in the past, with sick children, she could lose time to get involved with change. Adams wants the way women are treated to be changed. With knew ideas and a fresh perspective, she believes it will help the country. With the upbringing of the country, she does not want women to be forgotten. It is obvious that time is important in every part of Adams life. In these letters, time is a crisis and a journey and the same time for Adams while looking at the past, being in the present, and hoping for the future.

Narration in "Persepolis"

I think the obvious narrator in the book "Persepolis" is Marji as the first person, mainly because the subject explaining the information of development usually beginning from "I" of "my."  On the other hand, I think the readers can obtain numerous information from a lot of the other characters who appeared through the story, not just from Marji.  For example, Siamaki Jaari and Moshen Shakiba explained about the consequence of torture against their other friend, Ahamdi, who was assassinated.  I feel like most people think that the story is strictly illustrated through the narration of Marji, whether she was a little girl or a more mature women looking back.  I believe that at numerous parts of the story, not only do other characters take over narration, but they become more centralized as characters in the book.  Then you have to realize that overall, the book mainly consist of the two major characters, Marji as a child and Marji looking back on her childhood.  The two narrators slowly grow together I think because as Marji gets older it helps us relate more to her character.  For me at least, alot of the book is confusing for me because, I feel the narration is kind of all of the place.  I might be wrong, but that's what I feel.  Eventually when the two "Marji's" are in the same place in a way, we feel as an audience like we are finally growing a story and we feel invested into the narrator of Marji.

'Letters of Abigail' Audience

The letters of Abigail Adams are obviously not written for the people whom read it now. Being able to be read by the readers now, provides understanding of how the time then was. After reading Killingsworth's "Appeal to Time," you can see that Adam's meets many of the ideas explored by Killingsworth. 

Killingsworth mentions that progressive rhetoric is "not taking the contemplated action will bring disastrous consequences" (Killingsworth 49). In these next examples she understands the elements involved in idea of progressive that Killingsworth makes. This is shown in Adam's letters when she notes that woman should be paid attention to and if not noticed, than the will not be bound to laws.  Adams wants action to be taken for women, the right to vote, a voice (Adams 318).

Killingsworth's third idea of progressive rhetoric is "contemplated action is backed up by powerful historical forces that are already "on the march"; opposing them would be utterly futile" (Killingsworth 49). She mentions this when she says men of all ages are aware of the mistreating in women when it comes to the "vassals of Sex" (Adams 319). Adams very much knows she is not the only one thinking so.  She wants men to not rule but protect women with happiness.  (Adams 319).

Another example of Killingsworth's idea that is noticeable in Adams letters is progressive rhetoric. Killingsworth writes that "new reform and the old reforms will mutually reinforce each other" (Killingsworth 49).  Adam also shows this in her letters especially when she signs her letters to her husband as "Portia". Adam is trying to make clear that she may be of help to her husband, more as a partner than compliant. (Adams 321).

 Killingsworth's article,  supports Adams ideas and shows that she is a progressive thinker.

Audience point of view

In "Letters to John Adams," Abigail mentions her opinion about the national affairs and lets John realize she has been getting along in her correspondance, she also constantly nags him to answer her letters more quickly.  She explains, "I desire you would Remember the Ladies, and be more generous and favorable to them than your ancestors" (Adams 320).  I used this quote in my last blog, but this time using it in a different way.  From this quote, we can see as if John is quite indifferent to her wish and her suffering.  Sometimes even avoids writing directly about her constant opinion based letters he receives in a weekly basis.  Abigail counteracts this by implying about her husbands character throughout several letters, which also shows us she has a humble attitude and tolerant character.  However, in the terms of universal understanding, should we consider that her letters comprend the truth, even John Adams opinion?  While reading these letters, our point of view as a reader is dominantly third-person that we cannot get something that the author sends to the audience like Marji's sentences in Persepolis.  So because of this we have no choice but to belive her sentences in the letters are true.  I think it is important to think about our point of view as an audience and let our view be scewed by unilateral point of view.  It is hard to picture her letters then anything other one-sided point of views.  We may not be able to judge the logical opinion in the case of when we believe just her opinion.

Tuesday, March 27, 2012

Appeals to time

In "Remember the Ladies," a letter from Abigail Adam's, numerous forms including epideictic and forensic of rhetoric are seen mainly because Abigail tries to convince her husband John that his opinions on women's rights are wrong in the new government.  To go in to this further, Abigail utilizes complex appeals to time to emphasize her points. She gathers these appeals to time from Killingsworth's findings.  A great example of this comes from a quote by Killingsworth.  He states, "Authors may appeal to the past, present, or future, but the focus tends to fall on the need for change, the pursuit of something new, in the present" (Killingsworth 39).  While John Adams is helping to support a new governement as a general in the war, Abigail asks her husband to "rememeber the ladies," appealing to the present time.  Abigail stresses the importance and outstanding effects of the her task in hand, trying to come to the right decision.   Also stated in the letter, Abigail attempts to make a appeal to the past.  She expresses, "be more generous and favorable to [the ladies] than your ancestors" (Adams 318).  This quote directly expresses the writers of the constitution and how their pushing away old ancestory ways.  Saying this, Adams uses her appeal to the ways of her past to sway her husband John.  Finally, Abigail appeals to the future.  She threatens rebellion of the wives if her opinions are not taken into consideration.  This is an appeal directly to her husbands security in the future.

Monday, March 26, 2012

Letters To John: Abigail Adams' Appeals to Time

In Abigail Adams' Letters to John Adams, she makes her political concerns and opinions very clear.  In her letter, Man is a Dangerous Creature, she utilizes Killingsworth's theory of resisting progress.  She writes many things that she is concerned will happen if the colonies separate from Britain.  She asks,

"If a form of Government is to be established here what one will be assumed? Will it be left to our assemblies to chuse one? and will not many men have many  minds? and shall we not run into Dissentions among ourselves?" She also writes,

"The Reigns of Government have been so long slanked, that I fear the people will not quietly submit to those restraints which are necessary for the peace, and security, of the community' if we separate from Britain, what Code of Laws will be established? How shall we be governd so as to retain our Liberties? Can any government be free which is not administered by general stated Laws? Who shall frame these Laws? Who will give them force and energy?"

All of these questions and concerns that Adams writes can be classified as rhetoric of resisting progress because she is pointing out all of the problems and uncertainties that will arise if the colonies separate from England.  This is best defined as Killingsworth's Jeopardy, because Adams is pointing out many of the potential dangers of a certain decision.

However, Adams also utilizes the Rhetoric of Forward Motion in this letter, as she writes, "but whatever occurs, may justice and righteousness be the Stability of our times, and order arise out of confusion.  Great difficulties may be surmounted, by patience and perseverance."  In these sentences, Adams is looking towards the future, and says that she believes that progress will be possible.

In Adams' Letter, Absolute Power Over Wives, she uses Rhetoric of Crisis.  This is especially obvious in the passage where she is asking John Adams to be generous women when creating new laws.  She is pointing out that a decision needs to be made regarding the new laws, and she is very much in favor of laws that give more power to women.  She even continues to persuade John Adams by pointing out just how powerful women are, and that they have the ability to overcome men in order to gain rights.

She writes, "I can not say that I think you very generous to the Ladies, for whilst you are proclaiming peace and good will to Men, Emancipating all Nations, you insist upon retaining an absolute power over Wives.  But you must remember Arbitrary power is like most other things which are very hard, very liable to be broken--notwithstanding all your wise Laws and Maxims we have it in our power not only to free ourselves but to subdue our Masters, and without violence throw both your natural and legal authority at our feet--"

This is a very powerful statement, especially from a woman at that time.  She is telling her husband just how much she cares about the decision that needs to be made, and is convincing him to make the decision in favor of women.

Wednesday, March 21, 2012

Satrapi's Cultural Balance: Fundamentalism and Individualism

Consistently, differences between Marji and Iranian culture is a theme suggested by Satrapi. The author maintains a balance between the individualistic nature held by Marji (which was gathered from Marji's parents and their relatively unique status in Iranian culture, being open-minded and the relatives of royalty) and the newly-imposed fundamentalism instituted by the post-revolution government. We can see this relationship manifested in Marji's mind (or, occasionally the narrator's, as the example illustrates): she is nationalistic and patriotic in the desire to defend her country against the Iraqi attackers (p. 79, bottom frame) and demands a revenge bombing (p. 82, top-most frame) in response, stating, "WE HAVE TO BOMB BAGHDAD!". 

This is obviously strikingly different from the freethinking we also view in Marji's (as well, the narrator's) mind. Take, for instance, two scenes from the text wherein her autonomy from societal norms gets her into trouble with fundamentalist authority. The first (p. 134), when Marji is caught in the street by the women's branch of the "guardians of the revolution" wearing "punk" clothing, shows that her choices are not accepted by the culture when is chastised and forced to lie about her appearance to the women, and she narrowly escapes persecution by lying. Shortly after Neda Baba-Levy was killed, Marji no longer fears retribution against her nature, and thus wears whatever she wants to school (p. 143), and speaks what she feels is the truth, to the chagrin and consternation of her school superior. Thus, the kind of overt patriotism despite external control over her behavior was reversed into an (at least marginal) anti-fundamentalist, undogmatic intellectualism in the face of extremism.


The disparate nature of Marji's personality and Iranian fundamentalism is, in fact, a large part of the reason she went (was sent) to Vienna. The end of the section is, thus, the conclusion of the sort of balanced relationship maintained through the first half of Persepolis: by leaving, Satrapi/Marji/the narrator unite to show us that this balance was paradoxical, and that her personality was incompatible with Iranian fundamentalism. This is confirmed when Marji's grandmother tells her, "... Always keep your dignity and be true to yourself." (p. 150), which she then reiterates the next morning, stating, "I will always be true to myself". This also shows the remnants of cultural balance (i.e. that she will retain her Iranian identity, despite what had happened).

Question #1

In Persepolis, Satrapi incorporates the perspective of Marji as a child, and the current perspective of Satrapi herself.  While the use of dual narration is effective because the reader is able to see the story from different points of view, it can make it difficult to make moral judgments and fully understand the meaning of events in the story.  Throughout the story, there are instances when Marji's perceptions can obscure the reader from what one is supposed to understand about certain events.  For example, when Marji's parents are discussing how a man died of cancer and was considered a hero, the adults found it very funny, but Marji had no idea why they are laughing, but she decides to laugh along.  Because Marji is only a child and so naive, the reader can't fully grasp the seriousness of issues, or know the exact details of events, because Marji also doesn't know the details.  However, some events in the story are focused on much more because Marji finds them fascinating and important.  For example, Marji loves her uncle very much and loves his stories, but details about her uncle's identity and his involvement in the war is concealed from the reader because they are not as important to Marji.

Balancing the Cultural and the Personal

In simultaneously representing the Iranian culture as a whole and herself individually, Satrapi faces the challenge of narrating both macroscopically and microscopically in Persepolis. This is even more of a challenge for Satrapi particularly in light of her family's progressive views and actions. As we discussed in class, Marji is stuck somewhere between new and old, religious and secular, future and past.  This internal struggle can be represented also in Satrapi's narrative ability to encompass both the scope of an entire culture along with a young girl's perspective.


Pages 6-8 in particular shed light on how Satrapi weaves in both the cultural life of a family and the inner dialogue of her younger self. In these two pages, the reader actually learns quite a bit about Iranian culture and Islam itself especially given that there are merely 15 slides. Additionally, we gain insight into how Marji views her role in this culture.


It is clear that Marji comes from a well-off family (they have a maid, drive cadillacs, etc) for whom she cares greatly, and we learn that she is raised to hold her own personal set of beliefs: though she is female, Marji is determined to be the last prophet of Islam. This is where the reader first witnesses Satrapi's narrative ethic in representing cultural ideals alongside Marji. The past prophets scoff at Marji's wish to be a prophet simply because she is female; a woman prophet in this culture would be absolutely unthinkable. Additionally, Marji shows that she does not necessarily care about religious conventions (at least as a Muslim) in wishing to include Zarathustrian traditions. In doing this Satrapi not only gives insight into Marji but also sheds light on the history of Iran.


Based on these slides, I believe that Satrapi does achieve the balance she aims for as a part of her narrative ethic quite effectively. She continues to do so throughout the novel, but at times she does seem to segregate these aspects more significantly, either to the benefit or to the detriment of her audience.

The Passage of Time and Ideology


In visual narratives such as Persepolis, the author uses single frames to illustrate the passage of time and ideology. Everything from the illustrations themselves to captions helps demonstrate these changes. The way the characters appear and the things they say also help depict the passage of both time and ideology.

In one frame, Satrapi uses a picture of the Shah on the television (Satrapi 40). This represents not a passing of time, but a passing of ideology, as the Shah finally agrees to change the political make-up of the government. He is shown standing, most likely during a televised speech to the public, saying, “I understand your revolt.” It can be inferred that he realizes the revolution will not end until something changes; either the Shah will step down, or democracy will pursue. Though it says nowhere in this frame that his ideology has changed, it can be inferred by his stern face and the possibility that he is speaking to those whom he is trying to please.

A very successful change in time is depicted on page 89 of the book Persepolis. In this frame, cars filled with fleeing families are driving away from flames that engulf everything that comes into contact with them. It can be inferred that while many families are fleeing from the bombs and deaths, not all families would leave at the same time. Likewise, the flames would not follow directly behind them on their escape. There is some time passing between the cars and flames.

Though the passing of time and ideology is not set in stone in visual narratives, both changes can be depicted using inferences.  The images themselves, dialogue, and captions can suggest these changes to the narrative’s audience.

Passing of Time in a Single Frame

      In response to the third prompt I think there is one particularly effective frame that shows the passing of time, while it is only a single frame. On page 71 Marji is depicted in one of the largest single frames of the novel simply floating in outer space with a lost look on her face. She is very small in comparison to the large frame of stars and planets. I think this frame demonstrates the passing of time very well. It shows the adolescent feeling of being lost, not entirely sure of the world around you. It portrays a sense of confusion we have all experienced at one point in our life. But the part of the picture that shows how time is passing is the fact that Marji is in a new place, unfamiliar territory, her life is changing around her. Floating in outer space shows that she is in completely foreign territory that is new to her.
    So I would agree with Schirato and Webb you can only "infer it" but it is very apparent that there is a change in Marji's life in this single frame. Her beloved uncle is dead and a war has begun. You can clearly see the shift in the frame even if no time is actually passing. 

Question 2


I think that the chapter “The Trip” does a good job of incorporating both the lives of Iranians as a whole and the culture at that time as well as expressing her own view’s and outlook on the world around her. She shows the culture as a whole through explaining that the universities were closed down and why. She also shows the cultural outlook on women classified as modern, such as her mother, through her description of her mother’s incident with the two fundamentalist men. She also shows how Iranians of the time expressed their views through the way that they dressed. The fundamentalist woman would be covered head to toe, while the modern woman would let a few strands of hair show as a form of personal protest. Fundamentalist men would have a beard and un-tucked shirt while modern man would shave and tuck in their shirt. She also shows the violence during protests and expresses that you were to say that you prayed multiple times a day weather it was true or not.
                She also expresses herself, her life, and that of her family while explaining the whole of society at the time. She tells of her reason for being so disappointed at the closing of the universities, she wanted to go to school to become a scientist. She explains her family’s personal experience with protesting in which Marji’s mother decides that she is old enough to go with them as well as their decision to take a trip when things got too bad. She explains how when the returned from their trip they had no idea that a war had begun which separates her personal experience from that of the majority of Iran. She also expresses her own frustration at the war and desire to defend her country. I believe that by including these very personal descriptions alongside her explanations of Iranian life Satrapi does a very nice job of showing the Iranian culture while depicting her personal experiences and helping readers connect to the story.

Dual Narration in Persepolis (question 1)

In certain instances where older Marji narrates events that are occurring in the story, her own view of the situation is different from that of her view at the time it is taking place. One example is in the chapter "The Cigarette" (111-117). The older Marji talks about how kids continued to try to look cool despite the rules, and later about serious issues, such as how the war had caused so many unnecessary deaths. The younger Marji, on the other hand, is one of the kids trying to be cool, and at the end of the chapter she smokes a cigarette as an act of rebellion and a statement that she no longer considers herself a child. The two narrators, young Marji and older Marji, seem to contradict, but are actually saying the same things--they merely have different points of view. Older Marji can look in retrospect at the situation, hence why she talks about how teenagers were risking arrest, and how the war caused so many unnecessary deaths. Younger Marji, on the other hand, is still experiencing the events and does not fully understand yet all of what the war will cause. She breaks the rules because other people do it and because she's avoided getting punished in any extreme way so far, and she wants to be an adult like many twelve year olds do. However, both perspectives, while conflicting in interests, still give the reader an insight into the situation caused by the social changes and by the war.

Discussion Question #1

In the chapter, Cigarette, there is a distinct difference between the young voice of Marji and the adult voice of Satrapi. Satrapi parallels her teenage rebellion with what was going on in the war and even in the regime. She talks about the country turning against itself as a parallel to her turning against her own mother. There are all these pictures of death and destruction and she writes about how it could have been prevented and then she ends up talking about stealing her uncle's cigarette.

I do not know if I would necessarily say that these were contradicting themselves, but it seems to me that Satrapi is mocking her younger self. Marji focuses on her mother oppressing her when she cuts class, and how her mother is the dictator of her home. However, in between the scenes between Marji and her mother, Satrapi talks about Saudi Arabia's imposed peace and the Iranian refusal. Satrapi talks about blood and death and things that could have been prevented.

However, this almost makes Satrapi sound fake. She compares these two ideas that while I do see similarities they also seem to clash a bit. The bits of rebelllios childrens stories almost seem to make one wonder if she is serious about the harsh realities she writes about in between. Does Marji actually know what is going on or is Satrapi just filling in the blanks? If so, would Satrapi's opinion about this preventable war be the same as Marji's?

Narration in Up the Yangtze and Persepolis

In both Up the Yangtze and Persepolis, a larger issue is addressed by means of focusing on the story of an individual and the people around them. In Up the Yangtze, the narration follows one girl from a poor family in China who gets a job on a tourist boat because her parents cannot afford to send her to school. With the job, she can help support her family, have more to eat, and earn money that she could eventually use to go to school. The movie also follows an older teenage boy from a richer family, who is trying to make more money than his own parents do. While much of the film focuses on the two teenagers and their personal stories, it also shows the effects of the dam that was being built, and how many people would have to move due to their previous homes being submerged in the rising water. The film uses the personal stories of the teenagers to illustrate a larger message to the viewer about the lives of people in China. Persepolis does something similar to this as well; the story is told through the perspective of Marji, a young girl who lives through a cultural revolution in Iran, as well as the resulting social changes, and a war with Iraq. The story focuses mostly on her own experiences, her family, and her family's friends, it provides an insight into the changes that happened in the entire country during the time, in a way that those that are not knowledgeable on the subject can understand, due to it being told through the eyes of a child experiencing it firsthand. Both of the narratives explain a large social event that occurred in a country by giving the audience the perspective of an individual experiencing it, and in both of the narratives the individual is relatively young. Although the issues being addressed are different, take place in different cultures, and affect different groups of people based on different criteria, they use the same technique to address said issues, and both narratives receive the advantages and disadvantages of said technique. While it gives the audience a detailed picture of one perspective, seeing the larger picture can sometimes be difficult. However, this may actually aid the presentation of social issues, because social issues often are viewed from the perspective of a single person, because they have to spend so much time making sure that they can get through the change that they may not see the larger picture themselves.