Yvonne Najera COMM 518 Public Relations Theory Application Paper 4

Ted Cruzs Dramatism

Rhetoric Rhetoric may be defined as the faculty of observing in any given case the available means of persuasion. This is not a function of any other art. Every other art can instruct or persuade about its own particular subject-matter; for instance, medicine, what is healthy and unhealthy; geometry about the properties of magnitudes, arithmetic about numbers, and the same is true of the other arts and sciences. We view rhetoric as the power of observing the means of persuasion on almost any subject presented to us; and that is why we say that, in its technical character, it is not concerned with any special or definite class of subjects (Darity, 2008). Dramatism Conventional rhetorical theory tends to focus attention on how discourse influences the way people think. Formulated by Kenneth Burke, dramatism adds depth to rhetorical theory. One of the key elements of dramatism is its awareness that words are propositional (Burke, 1967). Dramatism is an approach taken to understand the uses of symbols in the social world. This approach is important to communication theory because a primary use of symbols occurs through language. Such a focus on the symbolic uses of language to influence is inherently rhetorical. In addition, dramatism seeks to understand the human world as a symbolic world of drama in which language is a strategic, motivated response to specific situations. (Littlejohn & Foss, 2009). Dramatism focuses on the role of the critic and their responsibility of uncovering a speakers motive. In this theory, Burke discusses two important ideas that life IS drama, and

that the ultimate motive of rhetoric is the purging of guilt. Motive is the object of dramatistic inquiry. There are three key concepts associated with dramatism: identification, dramatistic pentad, and guilt-redemption. Identification Identification is thus a "new rhetoric" that differs from persuasion, the "old rhetoric" studied by Aristotle. Identification is a recognized common ground between speaker and audience regarding physical characteristics, talents, occupation, experiences, personality, beliefs, and attitudes. The more substance the speaker holds with its audience, the greater the identification. It is used to overcome human division. Sometimes the speaker tries to falsely identify with the audience, which results in homophily for the audience. Homophily is the perceived similarity between speaker and listener. According to Burke, identification works both ways, but will never be complete. Without identification, there is no persuasion. After common ground is reached, persuasion is then facilitated. There are three strategies for identification. First, common ground using statements that tells their shared values and interests. Second, uniting because of a common enemy. Third, is using inclusive language like we (Blakesley, 2002). Dramatistic Pentad The Dramatistic Pentad is an instrument used as a set of relational or functional principles that could help us understand what he calls the cycle cluster of terms people use to attribute motive. This pentad is dissolution to drama. It is parallel with Aristotles four causes and has a similar correlation to journalists catchism: who, what, when, where, why, and how. This is done through the five key elements of human drama act, scene, agent, agency, and purpose. The Pentad is a simple tool for seeing and understanding the complexity of a situation. It reveals the nuances and complications of language as symbolic action, which in turn, opens up our perspective (Benoit, 1983). Guilt Redemption According to Burke, Guilt Redemption is considered the plot of all human drama, or the root of all rhetoric. In this perspective, Burke concluded that the ultimate motivation of man is to

purge one's sense of guilt through public speaking. The term guilt covers tension, anxiety, shame, disgust, embarrassment, and other similar feelings. Guilt serves as a motivating factor that drives the human drama. The speaker could purge their guilt in one of two ways: The first way is through the process of scapegoating. Here, the speaker blames an external source for his ills. According to Burke, there are two different types of scapegoating, universal and factional. In universal scapegoating, the speaker blames everyone for the problem, so the audience associates and even feels sorry for the victim, because it includes themselves. In fractional scapegoating, the speaker blames a specific group or a specific person for their problems. This creates a division within the audience. The victim, whoever it may be, is vilified, or made up to violate the ideals of social order, like normalcy or decency. As a result, by people who take action against the villains become heroized because they are confronting evil. The second way the speaker purges their guilt is through mortification. This is a confession of guilt by the speaker and a request for forgiveness. Normally, these people are sentenced to a certain punishment so they can reflect and realize their sins. This punishment is specifically a kind of death, literal or figuratively (Blakesley, 2002). Ted Cruz Gives a Speech Texas Republican, Ted Cruz seized control of the Senate floor last Tuesday about 2:42 p.m. vowing to speak in support of defunding Obamacare until I am no longer able to stand. Ted Cruz finally released his grip on the Senate floor after more than 21 hours of speaking about the need to defund Obamacare. Cruz could have spoken all the way up to a 1 p.m. procedural vote on moving spending bill forward, but he relented at noon. Cruz's speech was not technically a filibuster, as he was merely speaking during a permitted time slot. The speech was ostensibly intended to hold up the passage of what is known as a continuing resolution: a motion to maintain funding for the federal government. But there was never a chance that the resolution would be delayed: Cruz always knew that he would have to give way to a procedural vote. He read the Dr. Seuss children's classic Green Eggs and Ham, which he billed as a bedtime story to his daughters. While the approach had charisma, some critics pointed out that the book may not have been the best choice: "The narrator keeps

insisting that he hates green eggs and ham, but he's never had green eggs and ham," wrote Matt Iglesias at Slate. "When he finally tries them he likes them! The Democrats' bet on the Affordable Care Act is that it's like green eggs and ham they're convinced the public will like it when they try it. Nevertheless, Cruz continued on, citing sources as varied as actor Ashton Kutcher and the Denny's restaurant chain to a television series called Duck Dynasty; while all using rhetoric that has made him a 2016 presidential chosen among Tea Party conservatives. But ultimately his grandstanding may have lost him votes within the Republican Party itself. Cruz could not stop a Senate already in motion from eventually returning a complete continuing resolution to the House just days before a government shutdown is scheduled to take effect on Oct. 1. In other words, from the beginning it was all over, but he had his 21 hours of fame.

References Benoit, W. L. (1983). Systems of Explanation: Aristotle and Burke on Cause. Rhetoric Society Quarterly, 13, 41-57. Blakesley, D. (2002) The Elements of Dramatism. New York: Longman Burke, K. (1967). Communication: Concepts and perspectives (pp. 327360). Washington, DC: Spartan Books. Darity, E. William, A. Jr. (2008). International Encyclopedia of the Social Sciences Vol. 7. 2nd ed. (pp237-239). Littlejohn, S. W., & Foss, K. A. (2009). Encyclopedia of Communication Theory Sage Publications, Inc.