The Bitch Manifesto by Joreen Freeman (1968)

http://www.jofreeman.com/joreen/bitch.htm

The passage from George Orwell's 1984 from Section A of the ELLA 3 January Exam

The passage from George Orwell's  1984. The B text from the ELLA3 Section A part of the exam for January 2012.

For added context I've added a little bit more at the end of the passage. Winston Smith is in Room 101 and being threatened with torture.

O'Brien picked up the cage and brought it across to the nearer table. He set it down carefully on the baize cloth. Winston could hear the blood singing in his ears. He had the feeling of sitting in utter loneliness. He was in the middle of a great empty plain, a flat desert drenched with sunlight, across which all sounds came to him out of immense distances. Yet the cage with the rats was not two metres away from him. They were enormous rats. They were at the age when a rat's muzzle grows blunt and fierce and his fur brown instead of grey.

'The rat,' said O'Brien, still addressing his invisible audience, 'although a rodent, is carnivorous. You are aware of that. You will have heard of the things that happen in the poor quarters of this town. In some streets a woman dare not leave her baby alone in the house, even for five minutes. The rats are certain to attack it. Within quite a small time they will strip it to the bones. They also attack sick or dying people. They show astonishing intelligence in knowing when a human being is helpless.'

There was an outburst of squeals from the cage. It seemed to reach Winston from far away. The rats were fighting; they were trying to get at each other through the partition. He heard also a deep groan of despair. That, too, seemed to come from outside himself.

O'Brien picked up the cage, and, as he did so, pressed something in it. There was a sharp click. Winston made a frantic effort to tear himself loose from the chair. It was hopeless; every part of him, even his head, was held immovably. O'Brien moved the cage nearer. It was less than a metre from Winston's face.

'I have pressed the first lever,' said O'Brien. 'You understand the construction of this cage. The mask will fit over your head, leaving no exit. When I press this other lever, the door of the cage will slide up. These starving brutes will shoot out of it like bullets. Have you ever seen a rat leap through the air? They will leap on to your face and bore straight into it. Sometimes they attack the eyes first. Sometimes they burrow through the cheeks and devour the tongue.'

The cage was nearer; it was closing in. Winston heard a succession of shrill cries which appeared to be occurring in the air above his head. But he fought furiously against his panic. To think, to think, even with a split second left -- to think was the only hope. Suddenly the foul musty odour of the brutes struck his nostrils. There was a violent convulsion of nausea inside him, and he almost lost consciousness. Everything had gone black. For an instant he was insane, a screaming animal. Yet he came out of the blackness clutching an idea. There was one and only one way to save himself. He must interpose another human being, the body of another human being, between himself and the rats.

The circle of the mask was large enough now to shut out the vision of anything else. The wire door was a couple of hand-spans from his face. The rats knew what was coming now. One of them was leaping up and down, the other, an old scaly grandfather of the sewers, stood up, with his pink hands against the bars, and fiercely sniffed the air. Winston could see the whiskers and the yellow teeth. Again the black panic took hold of him. He was blind, helpless, mindless.

'It was a common punishment in Imperial China,' said O'Brien as didactically as ever.

The mask was closing on his face. The wire brushed his cheek. And then -- no, it was not relief, only hope, a tiny fragment of hope. Too late, perhaps too late. But he had suddenly understood that in the whole world there was just one person to whom he could transfer his punishment -- one body that he could thrust between himself and the rats. And he was shouting frantically, over and over.

'Do it to Julia! Do it to Julia! Not me! Julia! I don't care what you do to her. Tear her face off, strip her to the bones. Not me! Julia! Not me!' 

http://www.george-orwell.org/1984/21.html

"The Great Debaters" - Key Debates from the film

Two speeches from The Great Debaters (2007)

Film extracts and transcripts of these scenes are included. Of course, the scenes would have been edited versions of real debates. The second scene is with Harvard, which was a piece of fiction as the real debate was with UCLA in 1935.

"Resolved" means the proposition for the debated. It is traditionally placed in the past tense by the speakers for the "affirmative" as if the debate has been won.

Resolved: Negroes Should be Admitted to State Universities

http://www.americanrhetoric.com/MovieSpeeches/moviespeechthegreatdebaterswileyvsoklahomacitycollege.html

Resolved: Civil Disobedience is a Moral Weapon in the Fight for Justice

http://www.americanrhetoric.com/MovieSpeeches/moviespeechthegreatdebaterswileycollegevsharvarduniversity.html

Wiley College did beat Harvard the 1930s . . . and also a touring debate team from Oxford University.

Why do some Americanisms irritate people?

This is a very interesting article on lexis, especially words we use today which once outraged people long ago!

Why do some Americanisms irritate people?

The Art of Persuasive Debate - Logos, Ethos and Pathos

Logos, Ethos and Pathos Whenever you read an argument you must ask yourself, "is this persuasive? And if so, to whom?"  There are seveal ways to appeal to an audience.  Among them are appealing to logos, ethos and pathos.  These appeals are prevalent in almost all arguments. To Appeal to Logic (logos) To Develop Ethos To Appeal to Emotion (pathos) Theoretical, abstract  language Literal and historical analogies Definitions Factual data and  statistics Quotations Citations from experts and authorities Informed opinions Language appropriate to audience and subject Restrained, sincere, fair minded presentation Appropriate level of vocabulary Correct grammar Vivid, concrete language Emotionally loaded language Connotative meanings Emotional examples Vivid descriptions Narratives of emotional events Emotional tone Figurative language Effect Evokes a cognitive, rationale response.   Demonstrates author's reliability, competence, and respect for the audience's ideas and values through reliable and appropriate use of support and general accuracy. Evokes an emotional response.     Definitions Logos: The Greek word logos is the basis for the English word logic.  Logos is a broader idea than formal logic--the highly sybolic and mathematical logic that you might study in a philosophy course.  Logos refers to any attempt to appeal to the intellect, the general meaning of "logical argument."  Everyday arguments rely heavily on ethos and pathos, but academic arguments rely more on logos.  Yes, these arguments will call upon the writers' credibility and try to touch the audience's emotions, but there will more often than not be logical chains of reasoning supporting all claims. Ethos:  Ethos is related to the English word ethics and refers to the trustworthiness of the speaker/writer.  Ethos is an effective persuasive strategy because when we believe that the speaker does not intend to do us harm, we are more willing to listen to what s/he has to say.  For example, when a trusted doctor gives you advice, you may not understand all of the medical reasoning behind the advice, but you nonetheless follow the directions because you believe that the doctor knows what s/he is talking about.  Likewise, when a judge comments on legal precedent audiences tend to listen because it is the job of a judge to know the nature of past legal cases. Pathos: Pathos is related to the words pathetic, sympathy and empathy.  Whenever you accept an claim based on how it makes you feel without fully analyzing the rationale behind the claim, you are acting on pathos.  They may be any emotions: love, fear, patriotism, guilt, hate or joy.  A majority of arguments in the popular press are heavily dependent on pathetic appeals.  The more people react without full consideration for the WHY, the more effective an argument can be.  Although the pathetic appeal can be manipulative, it is the cornerstone of moving people to action.  Many arguments are able to persuade people logically, but the apathetic audience may not follow through on the call to action.  Appeals to pathos touch a nerve and compel people to not only listen, but to also take the next step and act in the world. Examples of Logos, Ethos and PathosLogos Let us begin with a simple proposition:  What democracy requires is public debate, not information.  Of course it needs information too, but the kind of information it needs can be generated only by vigorous popular debate.  We do not know what we need to know until we ask the right questions, and we can identify the right questions only by subjecting our ideas about the world to the test of public controversy.  Information, usually seen as the precondition of debate, is beter understood as its by product.  When we get into arguments that focus and fully engage our attention, we become avid seekers of relevant information.  Otherwise, we take in information passively--if we take it in at all. Christopher Lasch, "The Lost Art of Political Argument" Ethos My Dear Fellow Clergymen: While confined here in Birmingham city jail, I came across your recent statement calling my present activities "unwise and untimely."...Since I feel that you are men of genuine good will and that your criticisms are sincerely set forth, I want to try to answer your statement in what I hope will be patient and reasonable in terms.     I think I should indicate why I am here in Birmingham, since you have been influenced by the view which argues against "outsiders coming in."...I, along with several members of my staff, am here because I was invited here.  I am here because I have organizational ties here.     But more basically, I am in Birmingham because injustice is here.  Just as the prophets of the eighth century B.C. left their villages and carried their "thus saith the Lord" far beyond the boundaries of their home towns, and just as the Apostle Paul left his village of Tarsus and carried the gospel of Jesus Christ to the far corners of the Greco-Roman world, so am I compelled to carry the gospel of freedom beyond my own home town.  Like Paul, I must constantly respond to the Macedonian call for aid. Martin Luther King, Jr. "Letter from Birmingham Jail" Pathos For me, commentary on war zones at home and abroad begins and ends with personal reflections.  A few years ago, while watching the news in Chicago, a local news story made a personal connection with me.  The report concerned a teenager who had been shot because he had angered a group of his male peers.  This act of violence caused me to recapture a memory from my own adolescence because of an instructive parallel in my own life with this boy who had been shot.  When I was a teenager some thirty-five years ago in the New York metropolitan area, I wrote a regular column for my high school newspaper.  One week, I wrote a colunm in which I made fun of the fraternities in my high school.  As a result, I elicited the anger of some of the most aggressive teenagers in my high school.  A couple of nights later, a car pulled up in front of my house, and the angry teenagers in the car dumped garbage on the lawn of my house as an act of revenge and intimidation. James Garbarino "Children in a Violent World: A Metaphysical Perspective"

Rhetorical techniques in persuasive speech

A General Summary of Aristotle's Appeals . . .


The goal of argumentative writing is to persuade your audience that your ideas are valid, or more valid than someone else's. The Greek philosopher Aristotle divided the means of persuasion, appeals, into three categories--Ethos, Pathos, Logos.


Ethos (Credibility), or ethical appeal, means convincing by the character of the author. We tend to believe people whom we respect. One of the central problems of argumentation is to project an impression to the reader that you are someone worth listening to, in other words making yourself as author into an authority on the subject of the paper, as well as someone who is likable and worthy of respect.

Pathos (Emotional) means persuading by appealing to the reader's emotions. We can look at texts ranging from classic essays to contemporary advertisements to see how pathos, emotional appeals, are used to persuade. Language choice affects the audience's emotional response, and emotional appeal can effectively be used to enhance an argument.

Logos (Logical) means persuading by the use of reasoning. This will be the most important technique we will study, and Aristotle's favorite. We'll look at deductive and inductive reasoning, and discuss what makes an effective, persuasive reason to back up your claims. Giving reasons is the heart of argumentation, and cannot be emphasized enough. We'll study the types of support you can use to substantiate your thesis, and look at some of the common logical fallacies, in order to avoid them in your writing.

Ethos, Pathos, and Logos.

Logos (Greek for 'word') refers to the internal consistency of the message--the clarity of the claim, the logic of its reasons, and the effectiveness of its supporting evidence. The impact of logos on an audience is sometimes called the argument's logical appeal.


Ethos (Greek for 'character') refers to the trustworthiness or credibility of the writer or speaker. Ethos is often conveyed through tone and style of the message and through the way the writer or speaker refers to differing views. It can also be affected by the writer's reputation as it exists independently from the message--his or her expertise in the field, his or her previous record or integrity, and so forth. The impact of ethos is often called the argument's 'ethical appeal' or the 'appeal from credibility.'


[P]athos (Greek for 'suffering' or 'experience') is often associated with emotional appeal. But a better equivalent might be 'appeal to the audience's sympathies and imagination.' An appeal to pathos causes an audience not just to respond emotionally but to identify with the writer's point of view--to feel what the writer feels. In this sense, pathos evokes a meaning implicit in the verb 'to suffer'--to feel pain imaginatively.... Perhaps the most common way of conveying a pathetic appeal is through narrative or story, which can turn the abstractions of logic into something palpable and present. The values, beliefs, and understandings of the writer are implicit in the story and conveyed imaginatively to the reader. Pathos thus refers to both the emotional and the imaginative impact of the message on an audience, the power with which the writer's message moves the audience to decision or action.

[The above text drawn verbatim from Ramage, John D. and John C. Bean. Writing Arguments. 4th Edition. Needham Heights, MA: Allyn & Bacon, 1998, 81-82.] http://www.u.arizona.edu/ic/polis/courses021/ENGL_102-78/EthosPathosLogos

Or The Shorthand Version:

Ethos: the source's credibility, the speaker's/author's authority. 

Logos: the logic used to support a claim (induction and deduction); can also be the facts and statistics used to help support the argument. 

Pathos: the emotional or motivational appeals; vivid language, emotional language and numerous sensory details.

From the University of Arizona

An interesting blog with examples of ELLA 3 work

http://englishlitandlang.blogspot.com/