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This study investigates ethical argumentation in Perelman and Gadamer to claim that the central theoretical framework in each philosophy simultaneously inflects and deflects available avenues of persuasion. I argue in each system there is a “confused notion” whose ambiguity underpins the available methods of rhetorical argument. For Perelman, the confused notion of the universal audience and its relationship to epideictic rhetoric determines the form of ethical persuasion that requires consensus in order to incite action for justice. For Gadamer, the confused notion of Vorurteil (prejudice, or fore- judgment) is used to critique tradition, Enlightenment reason, and historical hermeneutics. This mode of ethical argument suggests that open dialogue with an other is the best means for addressing prejudice in order to reach mutual understanding. I argue that by placing these two approaches to ethical argument into critical dialogue, their respective capacities, limitations, and distinctive rhetorical outcomes can be more clearly apprehended. / 10000-01-01

This portfolio contains three separate research essays and a reflection that are related through a common theme, that of ethos. The research papers include: (1) an essay on the pedagogical value of Wikipedia when teaching students about developing authorial ethos; (2) a research essay on the value of writing centers employing tutors whose writing is not yet proficient in the standards set for academic discourse; and (3) a research essay on the use of blogs in first-year composition courses as a means of fostering agency, ownership of ideas, audience awareness, and metadiscourse use. These papers represent the variety of research I undertook during the M.A. program as well as my research interests moving toward the future.

abstract: "Bringing-before-the-eyes": Visuality and Audience in Greek Rhetoric examines how Greek rhetorical theories are understood through the lens of visuality and the ways in which orators accounted for audience knowledges and expectations in the creation of rhetorical texts and performances. Through a close reading of Greek rhetorical texts from the classical period, I develop three heuristics for analyzing the ways in which rhetoricians invite and encourage visualized images through rhetorical practice. By exploring (1) language cues that orators use to signal visualization, (2) the ways in which shared cultural memories and ideas allow orators to call upon standardized images, and (3) the influence of stylistic choices and audience emotions related to the vividness of rhetorical images, I argue that it is possible to analyze the ways in which classical Greek orators understood and employed visual elements in their rhetorical performances. I then conduct an analysis of the visual aspects of Demosthenes' On the Embassy using these heuristics to demonstrate the ways in which these three aspects of visuality are intertwined and contribute to a greater understanding of the relationship between the verbal and the visual in rhetorical theory. My findings indicate that Greek orators readily identified the influence of visual ways of knowing on rhetorical theory and presented early hypotheses of the ways in which sense perceptions affect social practice. This project complicates the ways in which rhetorical theory is categorized. Rather than considering visual rhetoric as a distinct field from traditional, verbal text-based rhetorical studies, this project explores the ways in which visual and verbal modes of thinking are interconnected in Greek rhetorical theory. By bridging these two areas of rhetorical study and arguing that verbal rhetoric can instantiate internalized, visual phenomena for audiences, the dichotomy of verbal and visual is problematized. By focusing on the rhetorical theory of classical Greece, this project also invites future research into the ways in which dominant, Western historic and contemporary systems of epistemology are influenced by the co-mingling of verbal and visual in classical Greek philosophy and education. / Dissertation/Thesis / Doctoral Dissertation English 2016

Facial expression has been used as a measure of pain in clinical and experimental studies. The Sociocommunications Model of Pain (T. Hadjistavropoulos, K. Craig, & S. Fuchs-Lacelle, 2004) characterizes facial movements during pain as both expressions of inner experience and communications to other people that must be considered in the social contexts in which they occur. While research demonstrates that specific facial movements may be outward manifestations of pain states, less attention has been paid to the extent to which contextual factors influence facial movements during pain. Experimenters are an inevitable feature of research studies on facial expression during pain and study of their social impact is merited. The purpose of the present study was to investigate the effect of experimenter presence on participants’ facial expressions during pain. Healthy young adults (60 males, 60 females) underwent painful stimulation induced by a cold pressor in three social contexts: alone; alone with knowledge of an experimenter watching through a one-way mirror; and face-to-face with an experimenter. Participants provided verbal self-report ratings of pain. Facial behaviours during pain were coded with the Facial Action Coding System (P. Ekman, W. Friesen, & J. Hager, 2002) and rated by naïve judges. Participants’ facial expressions of pain varied with the context of the pain experience condition but not with verbally self-reported levels of pain. Participants who were alone were more likely to display facial actions typically associated with pain than participants who were being observed by an experimenter who was in another room or sitting across from them. Naïve judges appeared to be influenced by these facial expressions as, on average, they rated the participants who were alone as experiencing more pain than those who were observed. Facial expressions shown by people experiencing pain can communicate the fact that they are feeling pain. However, facial expressions can be influenced by factors in the social context such as the presence of an experimenter. The results suggest that facial expressions during pain made by adults should be viewed at least in part as communications, subject to intrapersonal and interpersonal influences, rather than direct read-outs of experience. / Arts, Faculty of / Psychology, Department of / Graduate

This article engages with audience perception of emotion in a physical theatre performance. Two primary, yet conflicting, scholarly discourses relating to how human beings perceive emotions in themselves and in others are discussed: Emotion as Humanly Congruent, and Emotion as Personally Unique. There are four expressive/behavioural domains through which humans perceive and observe emotion. These include: facial expressions; body attitude; breath and voice and speech. The perception of three emotions namely anger, fear and disgust are incorporated in this paper. This article discusses audience perception of the three mentioned emotions with reference to the four expressive/behavioural domains whilst highlighting the ways in which the two scholarly discourses are combined when perceiving emotion in theatre performances. Data was collected and discussed in relation to the two scholarly discourses to determine whether the audience members could perceive the three emotions portrayed in a physical theatre performance. Keywords: Physical Theatre; Emotion; Perception of Emotion; Audience Perception / Dissertation (MA (Drama))--University of Pretoria, 2020. / Drama / MA (Drama) / Unrestricted

Local television news is caught between two major forces that determine its future: doing its journalistic duty to society and maximizing profits by providing content that audience members want to see. Various communication models examine the relationships between content providers, audience, and news makers by looking at organizations, media routines, external social and business pressures and ideologies that affect both media and the public they seek to serve. The dissertation argues that the key to satisfying the dictates of both forces lies with the audience and the ways in which local news content producers react to the audience's influence. The research in this dissertation examines a microcosm of the numerous relationships that impact TV news--the one between the content producers and members of the audience. The research uses behavioral theories as tools to examine how content producers and audience members relate to each other individually and how the institution of journalism is broadly affected by that relationship. It examines the normative model of journalism and how the audience and content producers fit into it. The study investigates the current state of audience research, both from an academic and a professional standpoint. This study utilizes qualitative and quantitative methods including ethnographical observation of a newsroom as well as one on one interviews and Web-based surveys to closely examine the way in which behavioral theories apply to local television news content producers. Results indicate the influence audience members exert over content producers is deeper and broader than previous research suggests. The results also show the content producers are aware the influence exists but do not recognize the pervasiveness of the influence. The conclusions offer a better understanding of the symbiotic relationship between audience and the media. / Mass Media and Communication

The relationship between France and Hollywood is rooted in a deep history that dates to the late 1800s. French Cultural elites and policymakers have regulated Hollywood to prevent the American ideals that are depicted in Hollywood movies from infringing on French culture, restricting free trade distribution practices to limit audiences' accessibility of imported, non-French media. These import regulations have strengthened French exceptionalism, which is an ideal that recognizes France as being superior to any other culture, region, or market. Yet, the impacts of globalization and the rise of technology have shifted media consumption habits and forced France to regulate new modes of distribution, like digital streaming platforms, to continue to protect the French culture, film industry, and commerce. In 2014, when Silicon Valley-based streaming platform Netflix, entered France, the principles of French exceptionalism impacted the reception of the Hollywood-focused platform. Policymakers imposed a tax system which requires internationally based streamers to invest in the French media industry. Netflix invested their tax into local language, teen productions to target a demographic whose ideals were less rooted in French exceptionalism. Additionally, Netflix utilized the affordances of Instagram to visually appeal to teen users when marketing the local language productions Mortel (2019-2021) and Vampires (2020-). Netflix capitalized on the French teen audience in order to gain a foothold within this culturally and economically protected market.

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