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In this essay, the authors build on recent extensions of Perelman and Olbrechts-Tyteca’s theory of presence. Most often understood as being produced through specific micro-rhetorical choices, such as the use of a single figurative trope such as enargia or anaphora that “brings an image before the eyes,” recent work by Alan Gross and Ray Dearin have extended the notion of presence to the choices that a rhetor makes to create presence throughout the whole text, not just in a single figure. A,K,&I first review the original concept of presence in light of these retheorizations, showing the existing gaps in scholarship. They then combine G&D’s concept of global presence with Kaufer, Ishizaki, Butler and Collin’s “corpus analysis…[their] recent formulation of standardized micro-acts of rhetoric that can be used to compare elements of selection or omission across texts” in order to be able to study the work of global presence in comparative genre analysis. They apply this framework to a selection of two different collections of student texts–48 cover letters from a business-writing course and 42 self-portraits from a professional writing course–noting that each genre’s selection and omission of elements to create a certain global presence is different between the two, yet more similar across authors working in the same genre. Cover letters were more prone to language action types emphasizing positivity, while self-portraits had much greater variation, often including types giving presence to negativity.

Quotations:

“While we do not go so far as to argue that difference between genres are reducible to techniques of selection and suppression, we do argue that this selection and suppression is fundamental to enacting genre. That is to say, global presence is a necessary but not sufficient condition for genre. Rhetors express and suppress units of micro-rhetoric (language action types) to create texts that respond strategically to particular situations, and these texts should, therefore, have surface features in common with others created in response to similar demands. We suggest that global presence, when understood as a second-order effect immanent to rhetorical design and performance, provides the critic with a tool for comparing genres as they are expressed in the text’s surface features” (366).

“Recall that for our sample of cover letters our analysis yielded a statistically significant finding that the cover letter writer is strategically positive, seeks to be innovative and future-oriented with the reader, typically a prospective employer. By way of contrast, for the self-portraits our statistical analysis gives contradictory reports for a variety of language actions. Negativity is inhibited in positive self-portraits but a requirement in negative ones…as a rhetorical genre it exhibits, at least in the sample we used, a greater variability in the rhetorical situations in which a student writer, describing for a teacher a background in writing, might appropriately portray him- or herself. This presence and absence of negativity marks a significant difference between genres that otherwise share a great number of formal elements” (373-374).

“It is only by understanding presence as a dynamic between presenting to and withholding from an audience that we can relate presence to the cumulative experiences create across a whole text, and ultimately across rhetorical genres. To understand global presence fully, that is to say, is to understand the characteristic patterns of rhetorical selection and omission not just within, but also across rhetorical texts and across genres, and their relationships to the situations that occasion them.” (382)

Other notes:

Site and computer-based method description can be found on p. 368.

For more info on corpus analysis via computer-assisted coding and measurement of statistical significance, see:

Kaufer, David, Suguru Ishizaki, Brian Butler, and Jeff Collins. The Power of Words: Unveiling the Speaker and Writer’s Hidden Craft. Mahwah, NJ: Lawrence Erlbaum & Associates, 2004.

In this essay, the authors build on recent extensions of Perelman and Olbrechts-Tyteca’s theory of presence. Most often understood as being produced through specific micro-rhetorical choices, such as the use of a single figurative trope such as enargia or anaphora that “brings an image before the eyes,” recent work by Alan Gross and Ray Dearin have extended the notion of presence to the choices that a rhetor makes to create presence throughout the whole text, not just in a single figure. A,K,&I first review the original concept of presence in light of these retheorizations, showing the existing gaps in scholarship. They then combine G&D’s concept of global presence with Kaufer, Ishizaki, Butler and Collin’s “corpus analysis…[their] recent formulation of standardized micro-acts of rhetoric that can be used to compare elements of selection or omission across texts” in order to be able to study the work of global presence in comparative genre analysis. They apply this framework to a selection of two different collections of student texts–48 cover letters from a business-writing course and 42 self-portraits from a professional writing course–noting that each genre’s selection and omission of elements to create a certain global presence is different between the two, yet more similar across authors working in the same genre. Cover letters were more prone to language action types emphasizing positivity, while self-portraits had much greater variation, often including types giving presence to negativity.

Quotations:

“While we do not go so far as to argue that difference between genres are reducible to techniques of selection and suppression, we do argue that this selection and suppression is fundamental to enacting genre. That is to say, global presence is a necessary but not sufficient condition for genre. Rhetors express and suppress units of micro-rhetoric (language action types) to create texts that respond strategically to particular situations, and these texts should, therefore, have surface features in common with others created in response to similar demands. We suggest that global presence, when understood as a second-order effect immanent to rhetorical design and performance, provides the critic with a tool for comparing genres as they are expressed in the text’s surface features” (366).

“Recall that for our sample of cover letters our analysis yielded a statistically significant finding that the cover letter writer is strategically positive, seeks to be innovative and future-oriented with the reader, typically a prospective employer. By way of contrast, for the self-portraits our statistical analysis gives contradictory reports for a variety of language actions. Negativity is inhibited in positive self-portraits but a requirement in negative ones…as a rhetorical genre it exhibits, at least in the sample we used, a greater variability in the rhetorical situations in which a student writer, describing for a teacher a background in writing, might appropriately portray him- or herself. This presence and absence of negativity marks a significant difference between genres that otherwise share a great number of formal elements” (373-374).

“It is only by understanding presence as a dynamic between presenting to and withholding from an audience that we can relate presence to the cumulative experiences create across a whole text, and ultimately across rhetorical genres. To understand global presence fully, that is to say, is to understand the characteristic patterns of rhetorical selection and omission not just within, but also across rhetorical texts and across genres, and their relationships to the situations that occasion them.” (382)

Other notes:

Site and computer-based method description can be found on p. 368.

For more info on corpus analysis via computer-assisted coding and measurement of statistical significance, see:

Kaufer, David, Suguru Ishizaki, Brian Butler, and Jeff Collins. The Power of Words: Unveiling the Speaker and Writer’s Hidden Craft. Mahwah, NJ: Lawrence Erlbaum & Associates, 2004.

Come? Costruendo un nuovo grattacielo super fallico.  Si chiama Kingdom Tower, già ribattezzata la Torre da un miglio (circa 1,6 km), edificio che sarà costruito a Gedda, sul mar Rosso e costerà 12 miliardi di sterline (circa 13,4 miliardi di euro, pari a più della metà dell’impatto dell’ultima manovra finanziaria italiana).

Una forma architettonica coerente con la testa di chi l’ha progettato.

http://alacant.blocsciutadans.net/oliveragrossa/

Jedenfalls war das die einzige Undifarbene Wolle die ich hatte und mir für die tollen Socken vorstellen konnte…also werd ich jetzt Augen und Webseiten offenhalten nach neuer passenderer Wolle

Aber genadelt werden musste noch was, was ich so nebenbei abends vorm TV nadeln kann…also meine tolle Wichtelwolle rausgesucht und mich für die Missoni-Zacken aus “Das geniale Sockenbuch” entschieden. Und dank der netten Hilfe aus der Socken-Kreativ-Liste  konnte ich auch anfangen. Mich haben nämlich die vielen Maschen verwundert…hatte erst angst sie würden zu groß werden, aber es scheint sich wirklich etwas zusammen zu ziehen und sieht richtig gut aus.

Weit bin ich ja noch nicht…aber ich finde den Zacken rand wirklich niedlich und deswegen zeig ich gleich mal ein Bild

Gestrickt wird mit NS 2.5 und Lana Grossa Meilenweit Fantasy. Die hab ich doch zu Weihnachten geschenkt bekommen beim Wichteln.❧

Liguei pra uma assessora de imprensa de uma cantora que não vale a pena citar o nome a fim de saber que horário posso chegar para a entrevista marcada para essa semana. Ela atendeu? Não atendeu. Deu 5 minutos depois e ela retornou:

- QUEM É? (só pelo quem é dela já deu pra notar que era uma mulher pouco amistosa)
- Quem tá falando? - pergunto eu, realmente sem saber.
- Fulaninha (claro que ela disse o nome, mas omito aqui no blog).
- Ah, oi, aqui é o Leonardo. Da TVUVA (WebTv da minha faculdade, que só me mete em enrascada).
- NOSSA! (Ela falou alto, mas deu pra notar que era pra ser pra dentro, sabe? Soou como: QUE SACO!) Fala…
- Eu tô ligando só pra saber que horário a gente pode chegar lá amanhã.
- EU NAO SEI NEM QUE HORAS EEEEEEEU VOU CHEGAR. Quando eu souber, eu te mando um e-mail avisando. (se eu tinha alguma dúvida de que não era bem vindo, tirei nessa hora)
- Ah, tah, obrigado. Tch..
- TCHAU.
- Tchau

Certeza se o meu tchau foi dito enquanto havia linha? Eu não tenho. GROSSA DEMAIS!

04698

No us el perdeu. Que és el número d’El Sucre.

La primera cala, prop de Barcelona, la trobareu a mig camí entre Sant Pol i Calella de la Costa, al Maresme. Abans tot son platges amb alguna roca. Si teniu mono de Costa Brava, però no voleu anar gaire lluny, Rocagrossa, a la vora de la carretera N-II, passat Sant Pol és el vostre destí. L’aparcament és limitat, a banda i banda de la carretera, però si sou matiners podreu trobar-ne. A la cala, si ho intenteu, mirant l’illot que la parteix en dos meitats, oblidareu que sou a Barcelona. Xiringuito a la mateixa sorra.

La primera cala, cerca de Barcelona, la encontraréis a medio camino entre Sant Pol y Calella de la Costa, en el Maresme. Antes todo son playas con alguna roca. Si tenéis mono de Costa Brava, pero no quereis ir demasiado lejos, Rocagrossa, a orillas de la carretera N-II, pasado Sant Pol es vuestro destino. El aparcamiento es limitado, en ambos lados de la carretera, pero si sois madrugadores podréis encontrar sitio. Ya en la cala, si lo intentáis, mirando el islote que la parte en dos mitades, olvidaréis que estais aún en Barcelona. Chiringuito en la misma arena.