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CHAPTER 3 Argument from the handbook studying literature english

Jos David Lammhider Baquero
>>> I'll deal with Chapter 3 "Argument" of "Studying Literature English". The book
answers the question that many new students are made, how can I approach the
literature and better choose my sources? and others kind of support.
Argument is proof or reason to justify or disprove something as true or false; it is a
speech to an end. It is the oral or written expression of an argument. It is important to
explain this premise before we get to crumble chapter and everything related to the
plot. As a student, one of the biggest problems we find when making an essay is to
have something to say, this may seem obvious, but it is very common to focus on the
structure rather than the argument. You should spend more time thinking about the
points you would like to do. As in this work is not only a personal opinion, but must
provide one or more propositions. I think one of the problems with today's
"argument" is being treated as "critical", said that this brings many negative
connotations in a discussion in two or more people. As the chapter of the book says:
"Why do people argue? Seriously, I imagine this is because in a conversation
sometimes temper and reason are lost and eventually dominate emotions. Speeches of
the ruling classes are described and authoritarian regimes that claim that there is only
one world view. As a literary critics, we can analyze the dialogic nature of novels and
consider whether monologist poetry tends toward the singular voicedness of form, as
he thought, but it is perhaps instances of democratic principle dialog Bakhtin which it
is most valuable in our approach to the subject of the reading texts as all.
The next item of our chapter "Stories, arguments and democracy" This very
beginning begs the question "What does it mean to say that arguments are the
manifestation of democracy?" The state of democracy - and democratic state in which
all have equal rights - depends on the free expression of opinion. People are allowed
to think differently from each other, and those who have been granted powers of

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government. In a non-democratic state, the subjects (they are not in power) are taught
what to think and any expression difference or dissent is forbidden, as Bakhtin
experience in Russia in the 1920. We may think that an argument is a democratic,
dialogic or state, the mode of interaction definition; it is different points of view: as
we have seen a person. In a discussion you're applying from side and then the
remaining members offer alternative views. It is also an ongoing process; an
expression follows another, progressing or perhaps regression back to points
previously made through a period of time. No argument or monologue, the modes of
interaction are not based on a challenge to their sense of be created. For example, a
university lecture is a form of communication which information is transmitted from
the teacher to the passive audience of students. We have already seen that the
movement of practical criticism to cultural studies, discipline English, challenges this
opposition in which the stories speak otherwise arguments. The latest rhetoric schools
focus on the ability of persuasion. each text and attempt to uncover its ideology. I
must admit that we, as students, we are bound by such critical approaches. This is a
implicit recognition that literary criticism is a form of communication argument:
students impulsively want to argue with him. The most important step which can be
taken as a freshman English is to recognize that the stories also they employ
techniques of persuasion and must be as much of acritical distance from them as you
can be impulsive works of criticism. Critics and literary texts are only different
genres of narrative.
This reading practice, shown on the opposite page, was devised by S. L. It
encourages you to use your own voice to question the text because sometimes writing
an essay in an appropriate academic style can divert your attention from the topic
and your ideas.
So, what is rhetoric? It is currently defined as the art of using language to influence
or convince people as "argument" and "review" the term has been tainted: in
everyday language is sometimes used to refer to a kind of hollow talk employee
persuade people to believe or buy something, or behave in a way that will against his
better judgment and desires (by politicians, advertisers and sales people, for
example). As a student classical philology I think the regulations and the Greek
reflection on the effectiveness of speech, caused by political, economic, social facts,
and covered most of the theoretical and practical issues that today we raise the
relations established between language and thought, art, morality, politics and, in
general, specifically human activities. Rhetoric Aristotle has come down to theorize,
since a speech plays a canon in which consists of five parts: their Latin names are
`invention,` dispositio, `elocutio, `memoria and `pronunciation. The
classification of the ingenious manipulation of words is multiple; there is more off
forty types of schemes and tropes over fifty (not necessarily their definitions uniform
rhetoric long text books of history). Some of the names will be familiar to you, for
example, the tropes of metaphor and simile, alliteration schemes and antithesis, while
others, example, anacoenosis words and meiosis, the two tropes, not used in everyday
language. However, while the Greek words themselves may only be found in

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textbooks, practices to which they refer are more common. The rhetorical designing
methods were not talking, but they were sort and giving names to acts of transfer (of
meaning or arrangement) to they had found in existing languages. traditional students
of literature, are expected to original students of rhetoric identify tropes and schemes
and consider their effects in poems and dramatic speeches, but, unlike the rhetoric
and the study of English literature students would then have they practiced in their
own communications.
The next of our chapter it is about the importance that I think were the Sophists
rhetoric, and therefore, the argument of his time. The Sophists, contrary to the old
philosophical schools, focused their discussions on the problem of man as a citizen
and as a social element that lives and has to relate to other men. In this way, the
sophists no longer questioned about the great principles of nature, but directed his
thoughts toward more vivid and more concrete problems. they instruct large groups
of young people to help them improve their own abilities. This practice was
completely antagonistic to that made by other older philosophical schools, which
instructed small groups of young people preparing for much more elitist form. This
new type of education achieved great success, especially in the Athens of Pericles,
where ardently sought the preparation of a new ruling class that was based on new
elements and other bases. In this sense, the Sophists, that they were masters of
eloquence, opened the door to success for many of the politicians of the time.
To sum up, I would like to give some general ideas on how to handle an argument
and develop some ideas about this. The argument is an everyday phenomenon in our
lives. In this sense, we are always at risk of being manipulated by our interlocutor,
using fallacious arguments: are there some practical principles by which we can
distinguish a good argument bad? For example: Who expresses an opinion should be
prepared to defend it if asked. A thesis must be defended only with arguments related
to it and have no overlaps with another. The arguments used in an argument must be
or have become invalid, making explicit some of the assumptions that were implicit.
We could find more or less rules according to the author, but I think they are clear
enough to serve as a point of entry to the complex mechanisms of argumentation. All
infringe on a more or less pronounced some of the proposed rules is inevitable
because of the many different situations where we are forced to argue. However, the
more we separate ourselves from the principles of good arguments, the more we will
be shifting from simple oversight to open manipulation.
Words Count: 1348

Works cited
Montaigne, Michel de. The Essays: A Selection. Trans. and ed. by M. A. Screech. London: Penguin,
2004
Lynn, Steve. Texts and Contexts: Writing about Literature with Critical Theory. 3rd ed. New York:
Longman, 2000.

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Annimo en.wikipedia.org/. [Consulta: 9 de Febrero 2016]. Disponible

en: https://es.wikipedia.org/wiki/Argumento
Andrews, Richard and Sally Mitchell. Essays in Argument. London: Middlesex University Press,
2001.