Billy Collins Rhetorical Analysis

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Famous philanthropist Stephen Hawking once stated, “We are all different. There is no such thing as a standard or run-of-the-mill human being, but we share the same human spirit.” In the world of George Orwell’s 1984, this shared human spirit is abused, neglected, and utterly destroyed. This is most apparent when O’Brien deconstructs the argument of Winston and, in turn, tears down his human spirit. While Winston clings to a persistent hope of the failure of The Party, O’Brien uses logos and pathos strategies to methodically tear apart this belief. This maniacal argument for The Party, the strong imagery involved in the interrogation, and the mental collapse of Winston produce one of the most thought-provoking, saddening, and terrifying scenes in 1984.

The Vietnam War is one of the most controversial wars the United States has ever been involved in. This is due to the lack of reason for the United States’ involvement in the conflict; it was not necessary to have Americans fighting in Vietnam (Cornish). Regardless of the lack of need for soldiers, young men from the United States were still drafted to fight and were shipped off to Vietnam, despite not knowing what they were fighting for. While there, most of them experienced horrific events that ended up following them after Vietnam, resulting in a condition called post-traumatic stress disorder (PTSD), which would weigh on the veterans’ shoulders for the rest of their lives. Tim O’Brien, author and Vietnam veteran, is not an exemption to

When Tim Collin’s begins his rhetorical analysis, he immediately describes the tragic circumstance of Fayti- Williams’s speech. Collins makes the reader feel like they’re standing in the crowd during her speech. He explains that she speaks to a group and wants to know what happened to her son. Collins points out the appeal of the bus that was involved in the bombing. Tim describes in Fayti-Williams words, “Have fed such an acute hunger for explanations, have slacked such a thirst for expression of sheer of horror.”

In the novel 1984 written by George Orwell, the author uses contradiction as a rhetorical strategy to develop his critique of a totalitarian regime by slowly changing the thoughts of people to only correspond with the thoughts of the inner party and Big Brother himself. Throughout the novel, many things seem to be the complete opposite of what their names actually mean. Perhaps the first mention of this is in the beginning of the book where Winston is describing his flat. With a name such as “Victory Mansions,” you’d think the building is nice and of high quality however this is truly not the case. The elevator hardly ever works, defeating the entire purpose, and... “The hallway [smells] of boiled cabbage and old rag mats,” (Orwell 1). Plastered all over the building and streets of London are colorful signs meant to enlighten your heart toward Big Brother.

As depicted by Winston Smith in the novel 1984, by George Orwell, it can be beneficial to society to have a ruling class, such as the government, to help keep order, but when that class becomes too powerful, it becomes corrupt, does everything that it can to remain in power, even if that involves eradicating the privacy of the people or destroying the credibility of the past.

Chapter 10 & 12 of Everyone’s An Author explains to the readers that it’s extremely important for us to choose genres and write a narrative effectively. Genres are kinds of writing. It includes arguments, reports, narratives, reviews, and annotated bibliography that often assigned to students in school. Also, genres are ways of writing and speaking that help people interact, communicate, and work together. In other words, genres reflect the things people do, act, react, and interact in the particular situations. Genres help us write by defining features for conveying certain kinds of information because they provide readers clues about what type of information they may like to find from the writing process in order to help them figure out how to read centrally.

Policemen and women are one of the most trustworthy people around. However, sometimes the police can be the least trustworthy in the right circumstances.

As writers, we must understand that the stance and genre of our writing correlates to the audience of the writing. Believe it or not, the audience can surely impact the stance and genre of which will ultimately influence how the writer computes their writing. It is quite common that a writer will distribute their stance in nearly all writings. The easiest to identify and differ stances are those that are indifferent and those that glorifies passionate stances. On the other hand, the genre in our writing is in direct relationship with the audience of the writing. How we purpose our message to certain audience is greatly influenced on who that actual audience is.

Mittell suggests that genre studies should negotiate between specificity and generality, and offers the following as an approach: “The second way would be to start with a specific media case study and analyze how genre processes operate within this specific instance. Such projects might isolate a variety of starting points—an industrial formation, audience practices, a textual instance, a policy decision, or a moment in social history. We may start with a textual case to motivate our study, but we must still examine how genres transcend textual boundaries and operate within audience and industry practices as well.3” Also, according to the article, “we should focus on the breadth of discursive enunciations around any given instance, mapping out as many articulations of genre as possible and situating them within larger cultural contexts and relations of power.4” So, any generic discourse must begin with a full understanding of the context of a particular text—in this case, Louie.

One of the scholar Swales (1990) stand firmly that the defining criterion for genre is the socio-rhetorical context, the categories defined by the community and communicative purpose. Therefore there is certain approaches of a genre to be effetively delivered to the audience after taking into account to what dictate an effective genre.

Genre is generally defined as a category of composition, characterized by a number of similarities in form, style or subject matter. Naturally with genre, expectations arise, as the reader or an audience come to expect certain things either when reading text or watching a play. Writers who choose to write within a chosen genre therefore are expected to write in a particular style, so any writer who operates outside the typical boundaries of their genre will naturally challenge a reader’s future expectations of that genre.

The First genre this text falls under is Expository writing. The writer has collected information from people and has synthesized the information. The second is Journal and Letters, the writer has written to a specific audience.

Linguists and theorists have developed a variety of definitions for ‘genre’ and discussed the impact that it has on the purpose of discourse. This essay will compare and contrast three given definitions of ‘genre’ as well as their complexity. This will be done to consider the implication of each definition on a critical reading and analysis of a text.

While Bishopís work on the topic of using creative writing in the composition classroom is crucial to any understanding of the argument, Deborah Dean, in ìMuddying Boundaries: Mixing Genres with Five Paragraphs,î also extensively explores the question I just raised, and does so by bringing in the concept of ìgenre theory.î In an explanation of ìgenre theory,î Dean states that, ìone way to make writing interesting is to create the experiences of the genre in the mind of the reader and then tweak one or twoî (Dean 53). Using the example of a childrenís fairy tale to illustrate her point, Dean goes on to say that genre theory is a bit controversial, saying that ìif applied without thought, it could mean a return to a focus on forms and product over processî (Dean 53). Proponents of genre theory, however, feel just the opposite. To them, genre theory is ìa more logical way to empower our students, to give them the ability to write in ways that will help them be successful in the social situations in which theyíll find themselvesî (Dean 53).