Esta dissertação analisa uma série de crônicas de autoria de Cecília Meireles publicadas entre 1930 e 1933 no jornal Diário de Notícias da cidade do Rio de Janeiro. Além de contribuir para a compreensão do movimento escolanovista brasileiro desenvolvido entre os anos de 1920 e o início da década de 1930, o trabalho tem por objetivo investigar nos textos da autora a presença das paixões, segundo a caracterização feita por Aristóteles na Retórica, como componentes emocionais que determinam o caráter persuasivo de um discurso. Seguindo os parâmetros metodológicos adotados pelo Grupo de Pesquisa Retórica e Argumentação na Pedagogia, o trabalho apresenta Cecília Meireles como oradora habilitada a discorrer sobre questões escolares. As paixões são organizadas em duas categorias: a positiva, formada por confiança, emulação, tranquilidade, benevolência, amor, compaixão e pudor; e a negativa, constituída por temor, desprezo, cólera, inveja, ódio, indignação e despudor. O trabalho evidencia que Cecília Meireles utilizava as paixões positivas para se referir ao que estivesse em concordância com a Escola Nova e as paixões negativas para tratar de ideias e realizações contrárias ao escolanovismo. / This dissertation examines a series of chronicles by Cecília Meireles published between 1930 and 1933 in Diário de Notícias Daily News , a newspaper from Rio de Janeiro city. In addition to contributing to the comprehension of Brazilian New School movement developed between the 1920s and early 1930s, the work investigates the presence of passions in Meireless texts; according Aristotles Rhetoric, passions are emotional components that determine the persuasiveness of a speech. Following the methodological parameters adopted by Rhetoric and Argumentation in Pedagogy Research Group, the work presents Cecilia Meireles as a \"speaker\" able to approach school issues. The passions are organized into two categories: the \"positive\" are formed by confidence, emulation, tranquility, grace, love, compassion and decency; and the \"negative\" consist of fear, contempt, anger, jealousy, hatred, indignation and shamelessness. The paper concludes that Cecilia Meireles used the \"positives\" passions to refer those who were in agreement with the New School and the \"negatives\" to discuss ideas and accomplishments contrary to New School.

KRY is a health-related app that provides a conversation with a doctor or psychologist through an app. KRY has chosen to market themselves through influencer marketing at different platforms like for instance Youtube. When influencers market KRY they encourage their followers to pay money for something that plays an important role regarding their own health. The purpose of this thesis is to answer the questions: What communicational strategies do influencers use to market KRY through sponsored video-vlogs? And how does the brand KRY get communicated through influencer marketing in sponsored video-vlogs? The thesis is considered relevant and is contributing to existing field of research because of the fact that much of the already existing research regarding influencer marketing is examining marketing of physical products. In other words, there exists lots of research regarding influencer marketing, but not much research focusing of influencer marketing of health-related services. This is the knowledge gap that this thesis aims to fill. The method the thesis is using is a multimodal analysis in combination with a rhetorical method. The material consists of the three vlogs in collaboration with KRY on Youtube which have the most views. The result shows that influencers market KRY by focusing on the intimacy between themselves and the viewers, talking about their own experience of using KRY, using emotion-related arguments and customizing the marketing after their own brand and their specific target groups of viewers. KRY as a brand did not get communicated very clearly, but could be distinguished by the fact that the influencers showed the app in their vlogs and that the brand KRY got related to positive emotions and words by all the influencers.

Esta dissertação analisa uma série de crônicas de autoria de Cecília Meireles publicadas entre 1930 e 1933 no jornal Diário de Notícias da cidade do Rio de Janeiro. Além de contribuir para a compreensão do movimento escolanovista brasileiro desenvolvido entre os anos de 1920 e o início da década de 1930, o trabalho tem por objetivo investigar nos textos da autora a presença das paixões, segundo a caracterização feita por Aristóteles na Retórica, como componentes emocionais que determinam o caráter persuasivo de um discurso. Seguindo os parâmetros metodológicos adotados pelo Grupo de Pesquisa Retórica e Argumentação na Pedagogia, o trabalho apresenta Cecília Meireles como oradora habilitada a discorrer sobre questões escolares. As paixões são organizadas em duas categorias: a positiva, formada por confiança, emulação, tranquilidade, benevolência, amor, compaixão e pudor; e a negativa, constituída por temor, desprezo, cólera, inveja, ódio, indignação e despudor. O trabalho evidencia que Cecília Meireles utilizava as paixões positivas para se referir ao que estivesse em concordância com a Escola Nova e as paixões negativas para tratar de ideias e realizações contrárias ao escolanovismo. / This dissertation examines a series of chronicles by Cecília Meireles published between 1930 and 1933 in Diário de Notícias Daily News , a newspaper from Rio de Janeiro city. In addition to contributing to the comprehension of Brazilian New School movement developed between the 1920s and early 1930s, the work investigates the presence of passions in Meireless texts; according Aristotles Rhetoric, passions are emotional components that determine the persuasiveness of a speech. Following the methodological parameters adopted by Rhetoric and Argumentation in Pedagogy Research Group, the work presents Cecilia Meireles as a \"speaker\" able to approach school issues. The passions are organized into two categories: the \"positive\" are formed by confidence, emulation, tranquility, grace, love, compassion and decency; and the \"negative\" consist of fear, contempt, anger, jealousy, hatred, indignation and shamelessness. The paper concludes that Cecilia Meireles used the \"positives\" passions to refer those who were in agreement with the New School and the \"negatives\" to discuss ideas and accomplishments contrary to New School.

The intent of this thesis and thesis project was to execute a successful run of the play, Stop Kiss by Diana Son while achieving the playwright’s intended message. Opal Clark directed this production of Stop Kiss at East Tennessee State University under special arrangement with Dramatists Play Service, Inc. It was performed to sold out audiences in ETSU Theatre and Dance Studio 205 October 2-7, 2017. The play explores experiences and hostility toward same sex couples, their relationships with one another and how one individual discovers sexuality. The discovery and actualization of the characters’ struggles were communicated in the play using student performers and crew members. The project was documented through a series of journal entries written by the director, who was guided by mentor Professor Robert Funk. The director details the exploration and process in daily journal entries. Additionally, a feminist criticism of the script further explores the portrayal of the plotline. The consequences and implications of dramatic choices within the context of the play are analyzed within this section.

<p>Abstract</p><p>Aim: The aim of the study is to analyze ten different columns written by Linda Skugge, in order to see what kind of rhetorical means she uses to get her message across. It is also to examine if, and to what extent, these means are of female nature, and to see what kind of persona Skugge uses in order to be trustworthy.</p><p>Method: Rhetorical analysis of ten columns written by Linda Skugge</p><p>Main results: The study has shown that Skugge´s rhetorical strategies differ from the ones recommended in theories about female speech. Skugge writes with a lot of character and emotionally based arguments, which, according to the theories, is more of a male way of speaking. Skugge gives an impression of being strong, competitive and offensive in her character, but also reveals that her role is consciously chosen in order to receive respect and to gain power.</p><p>Number of pages: 42</p><p>Course: Media- and Communication studies D</p><p>University: Department of Information science, University of Uppsala</p><p>Period: Spring 2005</p><p>Tutor: Amelie Hössjer</p><p>Keywords: rhetoric, rhetorical analysis, feminist studies, persona, Linda Skugge</p>

Abstract Aim: The aim of the study is to analyze ten different columns written by Linda Skugge, in order to see what kind of rhetorical means she uses to get her message across. It is also to examine if, and to what extent, these means are of female nature, and to see what kind of persona Skugge uses in order to be trustworthy. Method: Rhetorical analysis of ten columns written by Linda Skugge Main results: The study has shown that Skugge´s rhetorical strategies differ from the ones recommended in theories about female speech. Skugge writes with a lot of character and emotionally based arguments, which, according to the theories, is more of a male way of speaking. Skugge gives an impression of being strong, competitive and offensive in her character, but also reveals that her role is consciously chosen in order to receive respect and to gain power. Number of pages: 42 Course: Media- and Communication studies D University: Department of Information science, University of Uppsala Period: Spring 2005 Tutor: Amelie Hössjer Keywords: rhetoric, rhetorical analysis, feminist studies, persona, Linda Skugge

Title from first page of PDF document. Includes bibliographical references (p. 46-52).

Le corpus des Tombeaux français, dont la production s'étend du milieu du XVIIe siècle jusqu'à la troisième décennie du XVIIIe siècle, regroupe des pièces instrumentales dont le titre emprunte un nom de genre poétique. Si le tombeau poétique est un hommage posthume, qu'advient il de cet hommage en musique, quelles sont les stratégies musicales suscitées par ce titre littéraire, qui ne renvoie à rien de musical ?On a choisi, pour répondre à cette question, de tenter une analyse menée grâce à l’emprunt de notions rhétoriques appartenant aux domaines de l’elocutio et de la dispositio. Les stratégies représentatives, imitatives, affectives et formelles adoptées par les Tombeaux ont ainsi pu être appréhendées. Représentant, par l’insistance sur le mouvement descendant de la catabasis, la chute dans la mort, ils donnent à entendre, pour certains, les cloches des cérémonies funèbres ou les défaillances de la voix plaintive et affectent l’auditeur d’un malaise que celui-ci sait mimétique des souffrances du deuil. Exposant, clairement leur dessein, en début de pièce (représenter la chute), ils culminent, pour la majorité d’entre eux, en un crescendo émotionnel propre à la péroraison, d’autres pièces préférant, en revanche, une stratégie d’apaisement ou encore de consolation.Si les notions rhétoriques mobilisées ont permis d’accéder à l’éloquence des Tombeaux, en retour le succès de certaines de ces notions témoigne de leur pertinence, au delà du seul discours verbal. La rhétorique devient bien, alors, cette « structure mère » de la pensée européenne, à l’époque baroque, décrite par Marc Fumaroli. / The corpus of French instrumental work, the Tombeau, whose production extends from the middle of the seventeenth century to the third decade of the eighteenth century, borrows its name from a poetic genre. If the poetic, literary tombeau is a posthumous homage, how do we approach this musical homage? What are the corresponding musical strategies of a genre whose title is derived from a literary and not a musical genre? In order to answer this question, we chose an analysis that borrows from rhetorical notions, in particular, those belonging to the domain of elocutio, as well as those belonging to the domain of dispositio. Through this type of analysis, the representational, imitative, affective and formal strategies, appropriated by the musical Tombeaux, are understood. The Tombeaux, insisting on the descending movement of the catabasis – the falling into death – may convey to the ear the toll of funeral bells or the failure of the plaintive voice and affect the listener with a malaise, which replicates the suffering of mourning. Clearly exposing their design at the beginning of the piece (representing the fall), the majority of the Tombeaux culminate in an emotional crescendo characteristic of the peroratio, while others prefer a strategy of calming and consolation.If the use of rhetorical notions in our analysis permit access to the eloquence of the Tombeaux, in return, the success of certain of these notions is proof of their pertinence beyond their usage for verbal discourse. Thus, rhetoric becomes, as described by Marc Fumaroli, the structure mère of European thought during the Baroque period.

The aim of this research is to construct a biblical theology of social justice drawn specifically from the book of Amos. This is done on the basis of rhetorical analysis. The use of rhetorical analysis is considered to correspond with the genre of the selected texts analyzed (Am 2:6-8; 5:1-17; and 8:4-6), which are mostly rhetorical and relates to the issue of social justice in nature. The rhetorical criticism used in this research combines both diachronic and synchronic approaches, and consists of several steps such as dividing the rhetorical units, finding rhetorical situations, drawing rhetorical inventions, describing rhetorical dispositions and identifying rhetorical techniques. The analysis shows that the prophet Amos used a wide variety of literary devices to persuade his audience, the people of Israel, such as chiasm, rhetorical entrapment, oracle against the nations (OAN), N + 1 formula, inclusion and progression, woe oracle, dirge or lament, wordplay, hymn, wisdom techniques, imagery, sevenfold structure, cause-effect form of speech and “quoting what the accused have said.” These primary devices are utilized in the context or in the imagery of a courtroom. In this connection, Amos used the epideictic, judicial and deliberative rhetoric in order to bring his audience to the “divine court” for the religious and social sins that they have committed. These rhetorical devices function as a means of exposing a theological intention of the utterances of Amos, which is establishing justice in the land of Israel. The message of social justice is mainly based on the covenantal relationship between YHWH and his people, as seen in traditions of creation and redemption in the Old Testament, particularly in the Torah (the codes of law) and the former prophetic writings. The covenant calls for God’s people to love YHWH and to act socially just toward other fellow human beings. As a concept, this research proposes a triangular relational model. YHWH, as the theological angle must be independent, and his people, either the powerful (the political angle) or the powerless (the social angle), are dependent on him. Meanwhile, the powerful and the powerless are interdependent with each other. Keeping a balanced relationship among the angles means manifesting the ideal state of social justice in the land. This research shows that the covenant was broken by the Israelites when the powerful disobeyed YHWH and did social injustices toward other human beings. The powerful became independent both toward YHWH and the powerless. As a result, YHWH took responsibility and action to keep his covenant, and called his rebellious people back into repentance and obedience. In other words, justice must be maintained in the land of Israel. Such a divine decision was carried out in the context of the day of Lord (DOL), a day of either judgment or salvation. The option of death and life are offered to be chosen by the powerful. However, God’s people deliberately choose death, and, consequently, their end is near. YHWH himself definitely will defeat and exile them by using the mighty army of Assyria. / Thesis (PhD)--University of Pretoria, 2010. / Old Testament Studies / unrestricted

Major companies in the insurance industry—notably Allstate, Progressive, and Farmers—often employ personification as a creative rhetorical tool in digital video advertisements. By leveraging brand characters in various ways, these companies seek to establish trust and engender emotional impact in customers. Allstate ascribes destructive characteristics that are associated with house cats to its Mayhem character; in doing so they evoke the desired emotional responses of humor and fear. Progressive creates and deploys the Motaur character, a visual personification and play on the Centaur; in this case, the company’s rhetorical strategy is to evoke humor and nostalgia that resonate with motorcycle owners. Farmers’ strategy is to win customers by demonstrating experience and empathy; they do so with the Professor Burke character, whose professorial ethos functions to evoke feelings of trust. I employ the Elaboration Likelihood Model (ELM) in my analysis to explore the relationships between personification, emotional appeals, and persuasion.