This essay studies how advertisements in various anti-smoking campaigns can influence and persuade by using anti-logos as counter-arguments to the tobacco industry's logos. In contrast to tobacco advertising arguments such as freedom (logos), pleasure (pathos) and trademark (ethos) the anti-smoking campaigns create anti-logos arguments with various connotations such as repulsive pictures and sexual implications to influence groups of people not to start smoking or to quit smoking. Advertisement of tobacco does not exist nowadays due to legal restrictions in the western world; however several decades of myths created in the consumer consciousness still exist. Thus one can speak of a tobacco advertising ideology that exists and the various anti-smoking campaigns trying to change that ideology. The purpose of anti-smoking campaigns is to conduct a kategoria of myth that tobacco advertisement has created over the years. Anti smoking organizations do this by creating a new ideology to affect consumer’s attitude toward smoking and the tobacco myth with an anti-myth. This becomes a counter-myth to the myth created by tobacco advertising and their logos and pathos arguments. The anti-smoke commercial logos become anti-logos and pathos to anti-pathos (antipathy) for the cigarette whose arguments are created from the viewer's connotations of anti-smoke commercials. The cigarette, as a product of connotations in commercials, shows how rhetorical persua-sion becomes public relations and vice versa.

Θεωρώντας τη «Μήδεια» ως μια τραγωδία λόγου, θα ερευνηθεί στην παρούσα εργασία η σχέση κυρίως της πρωταγωνίστριας με τις ποικίλες μορφές της γλώσσας συμπεριλαμβανομένου ακόμα του «λόγου», του μύθου, δηλαδή των περιπετειών της με τον Ιάσονα. Πιο συγκεκριμένα, έμφαση θα δοθεί στις μορφές του λόγου με πολιτισμικό σημασιολογικό φορτίο, όπως η ικεσία, ο όρκος, ο χρησμός, η επίκληση των θεών, η κατάρα. Ακόμα, θα εξεταστεί ο λόγος ως μέσο πειθούς καθώς και οι τρόποι πειθούς, δηλαδή ο λόγος ως ρητορικό φαινόμενο. Ιδιαίτερη αναφορά θα γίνει στον κατ’ εξοχήν ευριπίδειο ρητορισμό που διέπει τον αγώνα λόγου. Επίσης, μέσα από τη γλώσσα των ηρώων θα βγάλουμε συμπεράσματα για το χαρακτήρα τους και τις ψυχολογικές τους διακυμάνσεις. / -

Graphical trademarks, or logos, represent important aspects of organizational identity and have become ubiquitous in society. Although the conventional wisdom of practitioners in design and business dictates that trademarks should be unique and distinctive, anecdotal evidence suggests that many trademarks appear to be similar to one another. This dissertation attempts to understand patterns of similarity and difference in graphical trademark design through the lens of neoinstitutional theory in sociology. Using data on trademarks from the United States Patent and Trademark Office, the designs of the over 750,000 graphical trademarks filed in the United States between 1884 and 2003 are analyzed in terms of their content, design complexity, and degree of design realism or abstraction. A series of hypotheses regarding trademark design dynamics is tested. Evidence is found suggesting that, rather than providing distinctiveness, trademarks serve to provide legitimacy to organizations by imitating the symbols employed by other organizations, particularly those within the same industry. Further analysis examines the institutionalization and deinstitutionalization of norms in trademark design within industries over time. Finally, the survival of trademarks that deviate from design norms, relative to more normal trademarks, is studied. While such "deviant" trademarks do not seem more likely to be abandoned or cancelled or to expire, further study suggests that trademarks that adhere most strictly to design norms are more likely to survive in use over time.

This thesis is about the cultural bargain; the balancing relationship between author monopoly and user affect desires, as applying to the ambiguity of characters. Character culture is a hybrid of the characters that are created and sold by authors with artistic and legal concerns, and the character-affect-relationship of the audience users of those characters. This study examines the law and industry practices in the United States and Canada as it relates to character and the limited scope of the law in defining just what exactly a character is. Also, I examine the major issues in the cultural bargain between the ownership of characters of authors, and the appropriation of characters by audiences, through the dominate arguments for both authors and audiences and the issue of privileged accessibility to characters. By "appropriate", I am referring to any act of an audience member, utilizing a character they do not own, in new ways, that the original author of the character did not give permission for, or approve. Finally, I present my analysis of how the cultural bargain may experience a balance between both authors and audience, by defining characters using the audience affect interpretation as criteria.

Thesis (Ph. D.)--University of Notre Dame, 2009. / Thesis directed by Joseph P. Wawrykow for the Department of Theology. "March 2009." Includes bibliographical references (leaves 265-285).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2007. / Vita. Includes bibliographical references (leaves 129-133).

Thesis (M.A.)--Catholic Theological Union at Chicago, 2007. / Vita. Includes bibliographical references (leaves 129-133).

Didaktorikī́ datrivī́--Filosofikī́ scholī́--Panepistī́mio 'Athīnō̂n, 1992. / Bibliogr. p. 191-205. Notice translittérée du grec (polytonique) selon la norme ISO 843 (1997).

The prequel to Plato’s Sophist, the Theaetetus, ends with the unanswered question, what is the logos (discursive account, reasoning) appropriate to knowledge? How can one distinguish it from the logos that lacks knowledge? This dissertation argues that the Sophist, through an inquiry of what the sophist is, is a response to that question. This response consists in three basic claims. First, logos forms the heart of inquiry, that is, the ascent from ignorance to knowledge. That ascent consists in logos repeatedly articulating what one understands at a given moment and then examining that articulation from different perspectives. The dialogue shows how the interlocutors’ initial understanding of the sophist is constantly refuted, refined, challenged, and qualified after being articulated. Second, the cognitive powers of perceiving, judging, and thinking all have the structure of logos, and are presented as stages in the ascent. That is, stage one shows the interlocutors’ perceptions of the sophist; stage two, their judgment of him; and stage three, what they think of him. Each stage gradually approaches knowledge without being identical to it. Finally, this absence of identity suggests that logos is necessary but perhaps insufficient for the ascent to knowledge. The process of inquiry, as shown in the Sophist, gestures towards knowledge as a state of mind that is both internally self-consistent and holds beliefs that allow the knower to be “in touch with” the world (a relation that Plato calls “truth”). Logos is insufficient for knowledge for two reasons. First, while capable of achieving a self-consistent state of mind, it does not guarantee that its results will be true of the world. Nor, moreover, can it replace the personal experience that is equally necessary for knowledge. The dialogue suggests this latter point by concluding with a correct definition (logos) of the sophist that is misunderstood by one of the interlocutors (Theaetetus) due to his lack of experience. These limits of logos suggest that the Sophist presents Plato’s self-critique of both the possibility and desirability of the philosophical dream of grasping the world in its purely “logical” aspects.

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