Boom And Bust

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DHUMPHREYS

Business Spiritual

BOOM AND BUST: ECONOMY AND SOCIETY IN THE USA 1917-1933

UNIT 1: Boom: the impact of the First World War, Henry Ford and mass production, consumerism ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

UNIT 2 Prohibition and organised crime ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

UNIT 3: Political and social tensions: the Ku Klux Klan, immigration policy, the Red Scare ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

UNIT 4 Bust: the economic and social causes, and the social and political consequences to 1933, of the Wall Street Crash . ,[object Object],[object Object],[object Object],[object Object],[object Object]

a. Comprehension and inference ,[object Object],[object Object],[object Object],[object Object]

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b. Use of own knowledge to present brief explanation of key issue, concept, event or individual ,[object Object],[object Object],[object Object]

c. Cross referencing ,[object Object],[object Object],[object Object],[object Object],[object Object]

d. Utility of source for a specific enquiry ,[object Object],[object Object],[object Object],[object Object],[object Object]

e. Use of two sources and own knowledge to agree/disagree with a presented view or interpretation ,[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]

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WR 39C ARGUMENT & RESEARCH: FOREIGN POLICY THROUGH THE DOMESTIC LENS _______________________________________ The Advocacy Project: A Multi-modal Composition Like the HCP Project, the main assignment here is a multi-modal composition that uses various rhetorical positions and different types of evidence to make arguments. This one, however, is a bit different from the first in that over the course of these next few weeks, as you research and evaluate various sources, and as you draft, craft and organize your thoughts and evidence, you will at some point have to make a decision to become an advocate for solutions to your central problem in at least one of the following three ways: 1) you might advocate for one or more specific solutions to the significant and current political/social/cultural problem that sits at the center of your focus; 2) you might locate the next steps to potentially solving your project’s central problem; or, 3) you might argue for why the current solutions do not work and leave your readers with questions about possible next steps. In other words, your arguments for advocating solutions in combination with the analytical reasons you provide for why you have chosen to focus on particular solutions will after weeks and weeks of diligent engagement become a richly-textured thesis statement, one that deepens your articulation of the problem at hand and argues for convincing for ways to move forward. When we think of the act of advocating and when we imagine a person or an organization who is an advocate for a cause, we think of strongly held opinions delivered with intensity from a rhetorical position that appears unshakable, deeply confident in the ethical rightness of its arguments and the accuracy of its knowledge. If we look at advocacy in such ways, we can understand why it takes time to become a convincing advocate, and that advocacy, even when it is delivered in the form of a thesis-driven composition, is a form of argumentation that can be quite different from the balanced arguments we often think of as academic writing even if it is as rigorous in its presentation of evidence. This is not to say that academic writers are not advocates. They are, and over the course of this project, you will become such an advocate—one who uses academic research and methods to deliver persuasive arguments convincingly to a public of one’s peers. Academic writers in many disciplines often write with the purpose of advocating for solutions to political/social/cultural/environmental problems. When they do so, they are expected to consider and present positions that run against theirs in various ways – call them counter arguments – in order to meet the expectations of their academic audience. They must demonstrate their mastery of established arguments and knowledge in areas of discourse and recognize the legitimacy of other perspectives, even if the author seeks ultimately to dismiss them. In the realm of public advocacy, argume ...

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Rhetorical Analysis RhetoricUsed in advertising, politics, writing, and any other situation where you are attempting to persuade an audience. Rhetoric is the art of argumentation – the use of language (or other means) to persuade an audience.Knowledge of how to use rhetoric in your work will make your essays more effective. Rhetorical Situation Audience/Reader Text/Message Text Reader Author Context Author/Communicator Rhetorical Situation Text/Message = the work being read Reader/Audience = for whom the message is intended Author/Communicator = writer of the piece Context = various factors of the argument (time, place, motivation, etc) that could influence either the reader or the author Text/MessageNearly anything can be a “text” – clothing, attitudes, expressions, etc. all convey a “message” to a reader.The form the message takes can make a difference:Print ads versus television commercialsInfomercials versus regular commercialsSound versus no soundEtc. Reader/AudienceA “reader” is only the intended recipient of the message; a reader is actually interpreting the message, regardless of what form it takes.Clearly identifying an audience makes a difference in what persuasive tactics and information are used in an argument. Author/CommunicatorCredibility is a concern – does the author have the credentials to back up what is being said?Can also be affected by the support used for the argument (resources).Should attempt to show a lack of bias in how the argument is presented (though a clear stance still must be taken). Context Context is composed of the situational elements which affect an argument Includes things like:Constraints (limiting factors for the argument)Exigence (motivational factors for the argument)Kairos (time and place for the argument) All of these elements can overlap! ConstraintsConstraints are limiting factors that affect an audience’s responses, as well as the author’s manner of presentation.Audience demographics can play a role – sex education, for instance, is taught differently depending on the age of the students, as well as the sex of those students.Other constraints can include:The means by which the message is conveyed (TV vs. print)Various rules (social, legal, etc) that the audience and/or author must followTime and/or length restrictions ExigenceExigence refers to the motivation behind the argument (both internal and external)Purpose – Why does the audience need to hear the message? What is the problem or issue that is being addressed and what makes it important right now?The situation surrounding the argument can affect the motivation for the argument as well as impose new constraints (where the argument takes place, etc). KairosKairos is generally used to refer to the time and place for the argumentThe situational factors involved may also be part of the argument’s constraints or exigenceFor example, writing an article for a magazine involves attention to the time and place (kai ...

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