Jag har i denna uppsats, med hjälp av Kenneth Burkes pentadmodell, undersökt motiv i Per Anders Fogelströms Mina drömmars stad. För att analysera framställningen av individens förhållande till samhället har jag även använt mig av Burkes identifikationsbegrepp och hans tanke om att syften bakom människors och karaktärers handlingar kan bottna i en strävan efter rening av en skuld vi bär inom oss.Genom att undersöka fem olika sekvenser, kronologiskt jämnt fördelade i romanen, har jag sökt formulera tänkbara motiv som ligger bakom textens budskap. För att undersöka hur scen och agent interagerar har jag använt mig av Burkes begrepp ratio, det vill säga förhållandet mellan dessa två komponenter i pentaden. Resultatet består i att Fogelström ämnar berätta historien om de människor som skapade grunden för dagens välfärdssamhälle, vars historia sällan belyses. Han beskriver ett förhållandevis obarmhärtigt samhälle, en agent, som tar beslut om sina invånares livsvillkor. Genom sin text fastslår Fogelström att det inte är människan som är ond, utan samhällets oförmåga att förse alla med materiell och ekonomisk trygghet som kan få människan att handla omoraliskt. Räddningen finns i medmänskligheten och solidariteten människor emellan. Det finns alltså, trots stundvis brutala skildringar av fattigdom, ett positivt budskap i romanen. Människan står inte totalt handlingsförlamad inför stadens hänsynslöshet, utan kan genom uppvisad medmänsklighet skapa bättre förutsättningar för varandra. Människorna är också likvärdiga inför samhället, oavsett klasstillhörighet.För att urskilja med hjälp av vilka grepp Fogelström gör detta har jag använt mig av Aristoteles klassiska begrepp ethos, pathos och logos. Fogelström blandar genomgående historisk fakta med fiktion i romanen vilket inger ett trovärdigt ethos. Han vinner mottagarens förtroende genom detta starka författarethos, med vilket han låter påvisa sina kunskaper om Stockholms historia, men framförallt genom att väcka pathos hos läsaren. Fogelström vädjar till mottagarens känslor genom ordval, retoriska stilfigurer och fokalisering genom flera av romanens karaktärer. Fokaliseringen tillåter läsaren att se händelseförlopp genom karaktärernas egna ögon vilket skapar en förståelse för individernas känsloliv och handlingar.

In this thesis, a review of Kenneth Burke's use of the term attitude in his published works as well as in some unpublished notes, drafts and letters, is performed. Three periods of different usage are found. Early works feature a pervasive attitude with elements of both body and mind. This attitude is then subsumed into the pentad and the physiological connection is diminished, but attitude is given an important function as a connective between action and motion. The later Burke reinstates attitude as central to his theory of symbolic action, reconnects it to the physiological and includes it in the Pentad with parsimony-inducing effect. The attitude is then found to aid rhetorical analysis and show promise in being able to help analyse expressions not wholly in the realm of the conscious, be they in the form of a Bourdieu social practice or barely conscious rhetorical markers in conversation.

How can the enterprises in Taiwan take preventive measures handle or manage the crises is an important issue. Crisis Management has become a major concern in public relations of all private sectors. This study aims to examine various crisis management strategies adopted by different enterprises affected by crises. This thesis specifically raises the following questions to discuss that the enterprises employ used Burke¡¦s Rhetorical Analysis with Dramatism strategy to analyze two case studies. The study found out the conclusions as follows: 1. Enterprises in Taiwan did not respond to crisis clearly and quickly. 2. Enterprises did not utilize image-repair-strategieswell. 3. They usually used ¡§act and agency¡¨in Pentadic analysis to interact with stakeholders. 4.Enterprises should cooperate with distributors to prevent crisis and establish a secure shopping environment.

Documentary is a genre of film that portrays "real" events using depictions that connote the objectivity and facticity implied by the processes of photorealism. Many contemporary documentary theorists and critics observe a constitutive problem in this ethos: despite the apparent constructions and agendas of documentary filmmaking, the framing and assumption of documentary as a window on the world tend to naturalize its own constructions as "real." Critics who engage documentary trace the multitude of ways this problem plays out in particular films. These projects yield many important insights, but they most often approach documentary as a form of inherently deficient representation fraught with ethical questions-- questions created by the frame and ethos of objectivity it fails to achieve. Are events portrayed truthfully? Are people depicted fairly? Are filmmakers misrepresenting? In this study I seek to show that a rhetorical approach to documentary shifts the critical focus to instead examine how documentary constructions and images work as evidence in the claims and rhetorical agendas of documentary. I study recent film texts (2000-2012) that explicitly and primarily structure their documentary materials as evidence for the truth of an argument or interpretation, and I argue that documentaries, when they work as documentary, establish and verify their depictions as evidence by drawing on the elements of their "scene." I use Kenneth Burke's dramatistic approach to observe that the "real world" as depicted in documentary is at once experienced as representation of the world outside the documentary, but also constructed as the scene of a dramatization. Understanding the dramatism of documentary helps me to characterize what I call a "rhetoric of evidence" that may be particular to documentary expression. In the films I study documentary "scene" interacts at key moments and particular ways to locate the events of films in the "real world," not just as evidence that something is real, but also as meaningful for particular arguments and rhetorical moves. This study reveals the often extremely subtle ways that documentaries wield the influence of "truth," and also offers filmmakers an understanding of how evidence might be deployed more deliberately to present a social world that is open for transformation.

The purpose of this essay is to understand the rhetoric presented by Henry V in Shakespeare’s St. Crispin’s day speech. More specifically, it examines the speech from a "dramatistic" point of view, i.e. the way Henry V is labeling agent, scene, act, agency and purpose in the narrative that his rhetoric constitutes. These labels are in themselves strategic spots, allowing the rhetorician to stage a reality that seeks to promote certain ways of thinking, feeling and acting that are beneficial to him. By examining these labels closely, we gain knowledge of their workings and – perhaps more importantly – their interchangeability. The analysis is based on Kenneth Burke’s dramatistic pentad and his ideas on how dialectical transformation can deepen our understanding of certain representations of reality. The methodology used is mostly that of Kenneth Burke when dealing with the elements of the pentad and its transformations, found in his work A grammar of motives. But it is also inspired by Hahn & Morlando’s (1979) Burkean analysis of Abraham Lincoln’s second inaugural address. The main conclusion is that Henry V overcomes his rhetorical obstacles (his men’s lack of motivation and questioning of the war) by reducing his narrative to the purpose. This purpose (and key term) is "honor", treated by Henry V as a term primarily rooted in the act, which is beneficial to his cause, since it allows men of all ranks to view themselves capable of gaining honor by performing the act of fighting. Furthermore, his focus on honor (and its dreaded counterpart – mediocrity and unmanliness) has the added side effect of drawing attention from some of his men’s critique of the war.

The purpose of the study is to create knowledge about how Swedish news media report on gang-related shootings, in particular how victims and perpetrators are portrayed, to discuss how media reports can affect readers´perseptions. In order to answer the purpose of the study, framing and a modified pentad analysis were used. The study is a text interpretation with a hermeneutic approach, which allows an interpretation of the analysis result. The conclusion of the study shows that victims and perpetrators are portrayed in a generalized way. Several frames have been identified that indicate that thee are stereotypical conceptions about both how a person who is involved in a shooting is as a person and where this person lives. In turn, the study shows that this portrayal of the actors can have an impact on how readers of the news media perceive the events and their actors. It appears that there are differences in how victims are portrayed depending on whether the victim has a previous criminal record or not. The possible impact that arises is mainly that the actors in the events are dehumanized by the readers if the person has been punished before, and that this in turn leads to people in society starting to value people´s lives differently. The life of a gang criminal dose not appear in the articles to be as valuable as a person who does not have a previous criminal record.

Uppsatsen är en introduktion till positionering som retoriskt begrepp.  Jag tycker mig se en splittring i samhället och att en del av det övergripande problemet är att människor inte kan mötas i en diskussion utan, likt ett politiskt maktspel, tar avstånd ifrån oliktänkande. Om det finns en möjlighet att positionering kan vara en bidragande orsak till splittringen och det eskalerande debattklimatet så är det viktigt att vi förstår hur det fungerar.   Positionering är ett välbekant begrepp i vardagligt samtal, offentliga samtal och politisk diskurs. Dess betydelse och användning nyttjats också teoretiskt inom till exempel psykologi, sociologi och marknadskommunikation. Även i retorikvetenskapen är positionering välkänt och omdiskuterat, men där uppfattar jag att fenomenet ofta tas för givet. Det finns en implicit förståelse av positionering eftersom det utgör en viktig del av retoriken, övertalning blir överflödig utan alternativa positioner. Däremot saknar jag en explicit teoretisering av positionering som begrepp inom retoriken, vilket den här uppsatsen ämnar lägga en första grund för; min ambition är att uppmuntra en fortsatt granskning och retorisk teoretisering av begreppet positionering.   I första delen av uppsatsen presenteras en teoretisk genomgång av positionering förankrat i Kenneth Burkes dramatiska teori. I den andra delen tillämpas genomgången med en kortare analys där analysmaterialet består av kommentarerna till en film om köttproduktion publicerad på P3-Nyheters Facebooksida.   Sammantaget visar den teoretiska genomgången och delar av analysen på ett värde i att fokusera på positionering i en retorisk kontext. Uppsatsen bidrar även till en tydligare bild och en mer utvecklad förståelse av positionering och dess retoriska funktion.

Uppsatsen ger en retorisk analys av tidningsdebatten Ranelidfejden 2003. Fejden startade med skribenten Linda Skugges recension i Expressen av Björn Ranelids bok Kvinnan är det första könet. Inom kort publicerades artiklar i Dagens Nyheter och Svenska Dagbladet som ifrågasatte Skugges kompetens som kritiker. Uppsatsen undersöker dessa artiklar och hur de argumenterar för att upprätthålla respektive bryta mot de normer som finns kring traditionell litteraturkritik. Detta görs genom att utgå från Kenneth Burkes dramatistiska analys inklusive ett genusperspektiv. Vad räknas som riktig kritik och vad räknas som en personlig reaktion? Slutsats: Ranelidfejden är ett exempel på det grundläggande mänskliga fenomenet att vilja identifiera sig med vissa människor i en social klass, att samlas kring en specialiserad aktivitet, att skapa en hierarki, samt att identifiera sig gentemot och stöta ut människor som överskrider gränserna för korrekt beteende hos klassen. Uppsatsen visar på de dramatistiska och genusteoretiska begreppens fördelar som verktyg för att analysera makthierarkier i mänskliga grupper och hur dessa reproduceras i språket.

With the increasing development of relations of consumption between discipline knowledge and students, educators face many pressures. One of these pressures is the emotional response of students to their learning experiences and the weight given to their evaluation of teaching by universities. This study emerged from the polarised nature of student responses to one particular area of study in landscape architecture, the integrative discourse of Landscape Planning. While some students found this subject highly rewarding, others found it highly confronting. Thus the main aims of this study are to describe how the students, teacher and institution construct this discourse and to propose a way to rethink these differences in student responses from a teacher's perspective. Firstly, the context of the study is outlined. The changing nature of higher education in Australian society frames the research problem of student-teacher struggles in Landscape Planning, a domain of knowledge in landscape architecture that is situated in a an enterprise university in Queensland. It describes some of the educational issues associated with Boyer's scholarship of integration, contemporary trans-disciplinary workplaces and legitimate knowledge chosen by the institution [Design], discipline [Landscape Architecture], teacher [Landscape Planning] and students [useful and relevant knowledge] as appropriate in a fourth year classroom setting. Secondly, the conceptual framework is described to establish the point of departure for the study. This study uses the work of Basil Bernstein, Harvey Sacks and Kenneth Burke to explore the changing nature of knowledge relations in Landscape Planning. Unconventionally perhaps, it begins by proposing a new concept called the 'decision space' formed from the conceptual spaces of multiple participants in an activity and developed from notions of creativity, conceptual boundaries and knowledge translation. It argues that it is in the 'decision space' that this inquiry is most likely to discover new knowledge about student-teacher struggles in Landscape Planning. It outlines an educational sociological view of the 'decision space' using Bernstein's concepts of the underlying pedagogic device, pedagogic discourse, pedagogic context, recontextualising field and most importantly the pedagogic code comprising two relative scales of classification and framing. It introduces an ethnomethodological view of knowledge boundaries that construct the 'decision space' using Sacks' concepts of context-boundedness and indexicality in people's talk. It also makes a link to a rhetorical view of knowledge choices in the 'decision space' using Burke's concepts of symbolic human action, motive and persuasion in people's speeches, art and texts. Thirdly, the study is divided methodologically into three parts: knowledge relations in official and curriculum texts, knowledge choices in student drawings and knowledge troubles in student talk. Knowledge relations in official texts are investigated using two relative scales of classification and framing for Landscape Planning and its adjacent pedagogic contexts including Advanced Construction and Practice 1 and 2 and Advanced Landscape Design 1 and 2. The official texts that described unit objectives and content in each context reveal that Landscape Planning is positioned in the landscape architecture course in Queensland as an intermediary discourse between the strongly classified and strongly framed discourse of Advanced Construction and Practice and the weakly classified and weakly framed discourse of Advanced Landscape Design. This seems to intensify the need for students in their professional year to access and adapt to new pedagogic rules, apparently not experienced previously. A further subjective reflection of my own week 1 unit information as curriculum text using classification and framing relations is included to explain what characterised the rationale, aim, objectives, teaching programme, assessment practice and assessment criteria in Landscape Planning. It suggests that the knowledge relations in my teaching practice mirror the weakly classified and strongly framed discourse of the official text for this unit, that is that students were expected to transcend knowledge boundaries but also be able to produce specific forms of communication in the unit. Knowledge choices in student drawings in Landscape Planning are described using a new sociological method of visual interpretation. It is comprised of four steps: (a) setting up a framing scale using the social semiotic approach of Kress and van Leeuwen (2005) (contact gaze, social distance, angle of viewpoint, modality, analytical structure and symbolic processes) combined with the pentadic approach of Burke (1969) (act, scene, agency, purpose); (b) setting up a classification scale using the concept of agent from the pentad of Burke (1969) combined with how the relationship between 'I' the producer and 'you' the viewer is constructed in each drawing, like a sequence in a conversation according to Sacks (1992a); (c) coding student drawings according to these two relative scales and (d) assessing any shifts along the scales from the start to the end of the semester. This approach shows that there is some potential in assessing student drawings as rhetorical 'texts' and identifying a range of student orientations to knowledge. The drawings are initially spread across the four philosophical orientations when students begin Landscape Planning and while some shift, others do not shift their orientation during the semester. By the end of the semester in 2003, eight out of ten student drawings were characterised by weak classification of knowledge boundaries and weak framing of the space for knowledge choices. In 2004, nine out of twenty-one drawings exhibited the same orientation by the end of the semester. Thus there is a changing pattern, complex though it may be, of student orientations to knowledge acquired through studying Landscape Planning prior to graduating as landscape architects. Knowledge troubles in student talk are identified using conversation markers in student utterances such as 'I don't know', 'I think', 'before' and 'now' and the categorisation of sequences of talk according to what is knowable and who knows about Landscape Planning. Student talk suggests that students have a diverse set of affective responses to Landscape Planning, with some students able to recognise the new rules of the pedagogic code but not able to produce appropriate texts as learning outcomes. This suggests a sense of discontinuity where students dispute what is expected of them in terms of transcending knowledge boundaries and what is to be produced in terms of specific forms of communication. The study went further to describe a language of legitimation of knowledge in Landscape Planning based on how students viewed its scope, scale, new concepts and other related contexts and who students viewed as influential in their selection of legitimate knowledge in Landscape Planning. It is the language of legitimation that constructs the 'decision space'. Thus in relation to the main aims of the study, I now know from unit texts that the knowledge relations in my curriculum design align closely with those of the official objectives and required content for Landscape Planning. I can see that this unit is uniquely positioned in terms of its hidden rules between landscape construction and landscape design. From student drawings, I acknowledge that students make a range of knowledge choices based on different philosophical orientations from a pragmatic to a mystical view of reality and that my curriculum design allows space for student choice and a shift in student orientations to knowledge. From student talk, I understand what students believe to be the points of contention in what to learn and who to learn from in Landscape Planning. These findings have led me to construct a new set of pedagogic code modalities to balance the diverse expectations of students and the contemporary requirements of institutions, disciplines and professions in the changing context of higher education. Further work is needed to test these ideas with other teachers as researchers in other pedagogic contexts.

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No. of bitstreams: 2 Dissertação - Deusimar Gonzaga - 2015.pdf: 2779885 bytes, checksum: b967dd65a94c0c282305853868ec3a58 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2015-06-08 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This study aims at presenting and discussing some of the aspects of dramatism, method of analysis of human relations and mainly of the acts of the language and of the thinking, as it is presented by the North American philosopher and literary critic Kenneth Burke (1897-1993), from the years 1930 to 1960. Practically unknown in our language, Kenneth Burke‟s name and of his dramatism are compulsory presences in the recent compendiums which deal with the studies of performance and of cultural performances, for the comparison and the relation they establish between everyday life and the drama and thus require be better known. Among many theorists, Burke‟s works have influenced the literary critics Harold Bloom (1930) and Susan Sontag (1933-2004), his student at the University of Chicago, and mainly the theoretical founding of the sociologist Erving Goffman (1922-1982), being that in his studies of everyday life as well as in his “dramaturgical approach”. As it is implied from dramatism, we are not only language users, we are also used by it and language determines our actions. Dramatism is established as an instrument of analysis of language as symbolic action from five key terms (dramatistic pentad): the act in itself, what has been done; the agent of the act, the actor, who performed the act; the scene (the place, the where); the agency, the means/instruments or how the action is performed, or even the autonomous capability of people to make their own choices; and the purpose. The act is the central term around which the five categories of analyses are organized (pentad) and the investigation of the motives of the action is the fundamental strategy of the dramatistic analyses. Burke proposes that the field of observation of the human action and of its innumerable combinations, the transpositions and the transformations among the terms of the cited pentad, makes it possible for an analysis of the human action that has drama as its central term. Dramatism attempts to answer the questions of how human actions can be explained, and mainly how these actions are determined by the symbolic capability. Dramatism becomes a central element in the analysis of human theatricality, of the human being in performance. / Este estudo tem o objetivo de apresentar e discutir alguns aspectos do dramatismo, método de análise das relações humanas e principalmente dos atos da linguagem e de pensamento, tal como apresentado pelo filósofo e crítico literário norte-americano Kenneth Burke (1897- 1993), entre os anos de 1930 a 1960. Praticamente desconhecido em nossa língua, o nome de Kenneth Burke e seu dramatismo são presenças obrigatórias nos recentes compêndios que abordam os estudos da performance e das performances culturais, pela comparação e relação que estabelecem entre a vida cotidiana e o drama e necessitam ser melhor conhecidos. Entre tantos teóricos, seus trabalhos influenciaram os críticos literários Harold Bloom (1930) e Susan Sontag (1933-2004), sua aluna na Universidade de Chicago, e principalmente a fundamentação do sociólogo Erving Goffman (1922-1982), seja em seus estudos da vida cotidiana como em sua “abordagem dramatúrgica” (dramaturgical approach). Como se infere, a partir do dramatismo, não somos apenas utilizadores da linguagem, somos também utilizados por ela, ela determina nossas ações. O dramatismo se estabelece como um instrumento de análise da linguagem como ação simbólica a partir de cinco termos chave (pentad dramatístico): o ato em si, o que foi feito; o agente do ato, o ator, quem realizou o ato; a cena (o lugar, o onde); a agência, os meios/instrumentos ou como se realiza a ação, ou ainda a capacidade autônoma das pessoas fazerem suas próprias escolhas; e o propósito. O ato é o termo central em torno do qual se organizam as cinco categorias de análise (pentad) e a investigação dos motivos da ação é a estratégia fundamental da análise dramatística. Burke propõe que o campo de observação da ação humana e de suas incontáveis combinações, as transposições e as transformações entre os termos do citado pentad, possibilitem uma análise da ação humana que tem o drama como termo central. O dramatismo procura responder as questões de como podem ser explicadas as ações humanas e, principalmente, como estas ações são determinadas pela capacidade simbólica. O dramatismo torna-se elemento central na análise da teatralidade humana, do ser humano em performance.