Final Blog

Dancing is not something that’s in my blood, but instead is something that has been engrained into my very being. For the past seventeen years dance has become one of the biggest parts of my life. I may dance the dance, but in reality the dance is dancing me. When you commit to something entirely no matter how good or bad you are it, it becomes part of you, even when you give it up. However my story isn’t about giving up, it’s about dedication and pulling through no matter the cost. Dance is not just something I’m literate it in, it’s something I live, it’s something that hurt me, but most importantly it’s something I’m committed to no matter what.

Barely seventeen, regional dance competition, crying while smiling, not my first injury on the dance floor and certainly not my last. The doctors tell me I’ve torn my meniscus, to take it easy. Two months later and my knee has popped out in the middle of my number, that doesn’t stop me, pop it back in and get back on stage. Quitting is not an option; it’s never an option. Nationals are over and it’s into my very first knee surgery I go. It takes longer than it should. When I finally wake up from the anesthesia they tell me the news, your ACL is gone but your meniscus is healing, there’s talk of more physical therapy and another surgery, but the only that sticks out in my mind is no more dancing. That is not an option. One more year of pain, dance shoes, costumes and stages. Eighteen, another surgery, new ACL, no more medial meniscus, it’s a win-lose. Six months later, back to dance.

Dedication is something I’m familiar with, but it’s dedication to dance that is something I live. Broken bones, sprained ankles, torn ligaments, nothing can keep me away. It is this intense dedication that enables me to become literate in dance. It separates me from those who dance just to dance and those who are forced to. It puts me, not where this would be a professional career, but in a place where dance terminology, such as plie` and arabesque, become an everyday thing for me. I’m literate in dance, and because of that, I am literate in dedication.

1. McCloud states that a/an __________________ “any image used to represent a person, place, thing or idea.”
a. cartoon
b. icon
c. visual argument
d. none of the above

2. According to McCloud, ______________ ________________ “are all digital comics in a technical sense, but many are still no more than ‘repurposed’ print at heart.”
a. online comics
b. digital comics
c. printed comics
d. none of the above

Work Cited
1. Handa, Carolyn. Visual Rhetoric in a Digital World. (Excerpt: McCloud, Scott. The Vocabulary of Comics.)
2. McCloud, Scott. Reinventing Comics: How Imagination and Technology Are Revolutionizing an Art Form. 1st ed. Harpercollins, 2000. 200 - 241.
3. Villanueva, Victor. Bootstraps: From an American Academic of Color. Urbana, IL: NCTE. 34-50

Blog 8

Literacies are like discourse communities; something a person holds an understanding for and is part of. The most obvious of literacies that Villanueva is part of is the Hispanic Latino community. Even though he talks about being raceless and how his mother wanted them to assimilate into the community, it’s obvious of his Hispanic roots. From the way he describes his Christmas’s in New York with Puerto Rican foods, such as pasteles. Villanueva is also part of an architectural community. Villanueva stated “…Hamiltons consolation prize had been architectural drafting. He had the skills, maybe even the talent.” (2) He may not have ended up with a career in architecture, but he contains a certain understanding of design and the ability to utilize the tools needed, in order to create something that others cannot. Another literacy that Villanueva is part of is the English literacy, stating that he is an English professor today.

I’m part of several different literacies, some of which that overlap. I’m literate in dance, as it’s been something I’ve been doing for sixteen years of my life. Dance is something I do, something I teach, something I live. Corresponding with teaching, besides assistant teaching dance I assist in an elementary school one day a week which will prepare me for my (hopefully) future career as a teacher. I’m literate in the Italian community, as it is my heritage. While I may not be fluent in the language, the traditions of my ancestors are still sometimes held true in my life. One of the biggest literacies in my life, one I have lived almost everyday in my life for a long time, is being a student. As a student, currently a college student, I’m part of a community that others can relate to. Almost everyone knows what it feels like to be a student, the hassles of tests, papers and deadlines, and that feeling when the school year is finally over.

Work Cited

1. Villanueva, Victor. Bootstraps: From an American Academic of Color. Urbana, IL: NCTE. 34-50

Blog 7

Kanika Khanna commented, “I’d like to hear more about the pictoral aspect of this add. You do a great job focusing on the verbal context – why not elaborate on the visual?” This is a valuable comment because it points out a whole other side of the aspect, which is weak in my essay, therefore resulting in my argument having a weakness. Incorporating more on the pictorial aspect of the advertisement will provide further backing up for my claim, and further assimilate the use of immediate visual context.

Rhetoric seems to be the most important term learned in class so far. Rhetoric encompasses a whole world of meanings and situations. As we defined in class, “rhetoric is the human use of signs and symbols to communicate.” Rhetoric is found everywhere in life, and therefore it becomes a form of communication in its entirety. As I stated in a previous blog, “We live through rhetoric or more specifically rhetoric lives through us… Rhetoric doesn’t necessarily need words, sometimes it is just found in the actions of others and oneself.” Therefore if we are a part of rhetoric and rhetoric is a part of us, it can be said to be the most important term, because we live it everyday.

My adnalysis placed a heavy emphasis upon gender stereotyping within advertisements, in which women are portrayed to be the weaker or subordinate sex. The emphasis upon this gender stereotyping is relatable to emotional proof, which “is used to appeal to and arouse the feelings of the audience.” (Wood, 149) I took my interpretation of the advertisement and attempted to invoke the pathos of an audience just like the advertisement tries to invoke pathos. Except I tried to sway the audience into seeing my interpretation that women are subordinate by saying this such as: “The overall body position of the female appeals to the ritualization of subordination; which states that the positioning of the body ‘renders one very dependent on the benignness of the surround.’ (Goffman, 9)” Through that statement I was attempting to pain a picture that the woman was relying heavily on the man instead of supporting herself, therefore providing support, emotional proof, to my claims that women are weak, subordinate and have rely on men.

Works Citied:
1. Wood, Nancy. Essentials of Argument. 2nd ed. New Jersey: Pearson Prentice Hall, 2009.
2. Goffman, Erving. Gender Advertisments. Harper Collins, 1979.
3. Tozzi, Stefanie. "Blog 1." Web Log post. Web. http://www.stefanietozzi.blogspot.com/.
4. Class (mainly Stein, Averick, Lella, and Lehrfield). Rhetoric. 2 Feb. 2010

Blog 6

One comment that I found most useful in my peer reviews was “Part of TRACE analysis- constraints and exigence portion not clearly identifiable.” The assignment for the ad essay was that while writing said essay to utilize TRACE as a key tool in expressing argument. While outlining my essay I defined the portions of TRACE and exigence for myself however it seems that those points in the outline were either not carried over to the essay or not clearly defined within the essay, which is something that needs to be fixed. Utilizing TRACE is an important aspect of the essay; therefore if it is unidentifiable there could be a miscommunication with the message of my essay which would lead to an unsuccessful argument.

According to Essentials of Argument warrants are “the assumptions, the general principles, conventions of specific disciplines, widely held values, commonly accepted beliefs, and appeals to human motives that are an important part of any argument.” (111) Arguments work better when warrants are shared by the arguer and the audience because if they are not they are then “in conflict.” (112) If the audience is to agree with the warrants of the arguer then they (audience) will be more likely to be accommodating to the argument, therefore the argument is convincing. The opposite would be true if the audience did not accept the warrants, such that the argument would not be convincing. (112)

Works Citied:

1. Wood, Nancy. Essentials of Argument. 2^nd ed. New Jersey: Pearson Prentice Hall, 2009.

Blog 5

A gift that millions of little girls have probably received around the world, perfectly placed in a rectangular box with fashionable clothes, a bright smile, and a so called perfect body, a Barbie doll. According to the author many view this doll to be bad, others good, and then adding another side to the list with those who have a moderate view of the doll. (97) Those on the “bad” side argue that “Barbie's proportions create impossible images of beauty that girls will strive for.” (96) Basically their statements sum up to say that Barbie is a mindless, materialistic, vapid woman who is the worst type of role model for girls. However, those on the pro-Barbie side of the argument say that “Barbie is a fun part of growing up.” Supporters argue that Barbie was ahead of her time, that she “achieved” careers historically before women did, such as becoming an Astronaut. Finally, the third camp of arguers, the moderates, say that while Mattel made Barbie “the ideal woman,” she also sends the message out that girls can be who ever they want. (97)

As a child I received Barbie's all the time, in fact some of my most vivid memories as a toddler include when my father would bring me home a new Barbie, well a new Barbie and gummy bears. But Barbie to me wasn’t something to aspire to be, something to wish I looked like and in fact a majority of young girls probably felt the same way as I did and still do. Most young girls don’t aspire to be Barbie, because Barbie can be whatever or whoever you make her. She doesn’t dictate what you should be, or wear, or how you should look. Instead the child is the one deciding what Barbie wears, who she will be and how she will look. Children, particularly young girls, assert their independence and thinking through her.

While the author does not exactly agree with the standpoint I have taken, she doesn’t disagree either. Instead the author holds a moderate view towards Barbie, and sees her as a “scapegoat,” stating that it’s more important to look at “an entire culture” and see the ideas that we are teaching about beauty as a whole to children. (98) While reaching her conclusion the author incorporates a blend of templates used in They Say, I Say, including the arguments of X, Y, Z (such that X, Y, and Z stand for pro-Barbie, anti-Barbie, and the moderates) and then stating her own argument. With her argument the essay points out her own standpoint, where she agrees and disagrees with the three sided debate and exactly wherein those categories of X, Y, and Z she stands.

Works Cited

1. Wood, Nancy. Essentials of Argument. 2nd ed. New Jersey: Pearson Prentice Hall, 2009.

2. Graff, Gerald, and Cathy Birkenstein. They Say, I Say. New York, NY: W.W. Norton and Company, Inc., 2006.

Blog 4

Birdsell and Groarke’s purpose is to take David Fleming’s claim that “visual images (“pictures”) cannot, he claims, be arguments” and prove him wrong. (1) In fact according to Birdsell and Groarke “the point that visual images are frequently vague and indeterminate cannot, in view of the demonstrable indeterminacy of verbal expressions, show that images are intrinsically less precise than spoken or written words.” (2) Simplistically meaning that even though pictures can be vague does not mean that they are any less exact with sending their message than that of spoke or written word. A picture of a bloody battle may not tell you where the battle took place, what day, what time or who was fighting, but it will still tell you that a battle was fault and the end results were tragic. While a passage from a novel may depict a bloody battle scene with gruesome looking corpses littered around, this is hardly more detailed and in fact is telling you the same thing that a picture of that battle scene might show. Sometimes a picture has the ability to come across with more meaning than words ever can. Some things in life cannot be expressed in words. Imagine the most beautiful scenery you can think of and then think of the words to describe it, you can spend a lifetime trying to find the perfect word to describe the scenery and always fall up short. However you can take a photo of that perfect scenery and capture that image as it is for a lifetime and never once need a word to describe it.


Birdsell and Groarke provide a solid argument for immediate verbal context, immediate visual context and visual culture. They divulge into the significance of each term in its relation to visual argument. For instance, “ the significance of immediate visual context is most obvious in film, for it incorporates a progression of images which allows us to recognize a single frame as part of an overarching argument.” (6) Birdsell and Groarke go on to say that immediate visual contexts capture “more than the sequences of images” and that immediate verbal context “provides a basis for the interpretation of visual images.” (6)


Works Cited:

1. Birdsell, David S; Groarke, Leo. Toward a Theory of Visual Argument. (Argumentation and Advocacy. 33.1 (1996). Research Library)

Blog 3

There are eight features of visual argument and all are arguably important in their own right, but it is the eighth feature, “visual argument invites unique interpretations from viewers,” that is most important. (Wood, 244) Individuals view images differently for the reason that just like snowflakes no two people are the same. This individuality allows a person to view an image and relate it to themselves, an experience they had, or even a story they may have read. The ability to perceive images differently is important because with that comes some of the other features of visual argument, such as “visual argument evokes an emotional response.” (Wood, 240) If there is a group of people viewing the same image of a war scene each of them will more than likely have varying emotions. Some of those people may be angry over the war scene, some sad, while others may just be indifferent to it all. The ability of the picture to evoke an emotional response all leads back to the importance of “unique interpretations” that Wood speaks about. It is easy to become involved with an image and the message the photographer, artist or whoever the “message sender” is, when images are up to the interpretation of the viewer and therefore the message of the image become a part of them. (Wood, 245)

Humans perceive images differently and interpret those images to mean different things. While looking at the picture of a lady outside a bathroom a person would associate it with being the woman’s bathroom. However this image of a woman is not in fact a woman but instead a representation of a woman, an icon. The icon is the most important feature of visual image; icon meaning “any image used to represent a person, place, thing or idea.” (McCloud, 4) According to McCloud non-pictorial icons have a fixed meaning while pictures, such as one of a face, can have various meanings. (4) Due to the fact that images, “icons”, can be interpreted differently, they become more relatable, such as cartoons. Cartoons are drawn so simplistically that it becomes easier for the viewer to place himself or herself into the image of said cartoon. As McCloud says cartoons are “…an empty shell that we inhabit which enables us to travel in another realm. We don’t just observe the cartoon we become it!” (8) The iconic images of cartoons don’t leave you wondering about their backgrounds or why their clothes may be strange, instead they let you fill in the gaps and personify the cartoon as what you want it to be.


Works Citied:
1. Wood, Nancy. Essentials of Argument. 2nd ed. New Jersey: Pearson Prentice Hall, 2009.
2. Handa, Carolyn. Visual Rhetoric in a Digital World. (Excerpt: McCloud, Scott. The Vocabulary of Comics.)