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are complicit with social-cultural factors, the rhetorical devices used tend to be fairly
consistent. Chaim Perelman and L. Olbrechts-Tyteca, in their important work The New
Rhetoric, argue that in our everyday modes of thinking we must deliberate upon a multitude
of factors that ultimately shape, not so much our grasp of abstract truth, but our adherence to
one point of view over another. The very need to deliberate implies the lack of absolute
necessity in these matters; something "makes sense" because of other factors rooted in the
logic of persuasion and rhetoric. We examine some of these elements here as they relate to
logical argumentation in cultural/discursive systems.
11.3.3.1 Rhetorical Tactics: Naming. "One of the essential techniques of quasi-logical
argumentation is the identifying of various elements which are the object of discourse: We
consider this identification of entities, events, or concepts as neither arbitrary not obvious,
that is ... it is justifiable by argument." In this statement, Perelman and Olbrechts-Tyteca point
out that definition (in the sense of the mere identification and explication of technical terms)
can be a persuasive enterprise, or at least can have a persuasive component to it. The goal is
to achieve a sense in the hearer that what is being defined has something to do with him or
her not only at the level of cognitive reason, but also at the level of emotional or
psychological identity. The tendency of cultural/discursive treatises to root their arguments in
a larger transcendental realm (again, nature, morals, history, the machine, etc.) arises just
because of their need to establish these levels of identification.
Now, one way to achieve identity with a larger realm is simply by naming. For
instance, Ruskin's first principles of quality, that buildings must "act well . . . speak well . . .
look well," makes a connection between architecture and moral considerations by a
nominative leap that immediately grips reason at a provocative level. The claim is
halfway to being legitimized just by the connection being made: how can we argue with
morals? First principles of origin (in the enabling sense) also usually have this attribute: they
are legitimate simply because of their nominative position in the argument. Consider again
Semper's four elements. Hearth, roof, enclosure, and mound are concrete concepts that
Semper simply culls out of the mythical past, as it were, by naming them. Of course not any
name is acceptable; successful naming must give persuasive traction to the process of
deliberation. Semper's case, the four elements are, first, categorically distinct from one
another; second, they seem to capture a complete representation of the major components of a
dwelling without a suspicion of something being left out; and third, they seem to be
descriptive of all instances of dwelling.
11.3.3.2 Rhetorical Tactics: Association or Disassociation. Another way to "make sense" to
an audience is by association, a primary tactic by which cultural/discursive treatises connect
to larger transcendental realms. It is quite important, for instance, that the Doric, Ionic, and
Corinthian orders be associated with anthropomorphic ideas. The Doric is masculine; the
Ionic matronly; the Corinthian maidenly. These are essential factors for their appeal and
durability because they associate the physical forms with issues of character and human
identity.
Consider any number of early modernist treatises in which association with the
machine is the overarching means by which architectural design action is justified. is Moisei
Ginzburg in Siyie atid Epoch:
It is precisely the machine, the main occupant and the master of the modern factory,
which, having already exceeded its bounds and gradually filling all the corners of our
way of life and transforming our psyche and our aesthetic, constitutes the most
important factor influencing our conception of form.
Related to association is disassociation. In the rhetorical tradition, dissent, or at least
its possibility, is Iegitimate in its own right. To disagree with an established norm often
demands a hearing, provided that the one who dissents is acceptable to the audience on other
grounds. J. N. L. Durand, for instance, argued forcefully in a dissent against the Vitruvian
position that classical proportions are derived from measurements of the human body. He
measured a human foot, and claims he was not able to derive from it the building proportions
that this venerated argument prescribes.
Durand's authority, apart from his own professional and academic standing, draws from the
cultural ideas of his day, namely, the advent of the machine and the gradual departure from an
anthropomorphic understanding of nature for a much more functional/utilitarian view. So, for
the logical researcher at the cultural/discursive end of the spectrum, one question to be asked
is this: Are there factors in contemporary culture that can be used as the bases by which to
mount a dissenting point of view against precepts already accepted, but perhaps based upon
outmoded cultural factors?
11.33.3 Rhetorical Tactics: Story. Along with association comes story, in which something
that is named is amplified by an account that, on its face, is not provable. The origin of the
Corinthian capital is a case in point: a "freeborn maiden" takes ill and passes away; her nurse
places some of her belongings in a basket over her grave with a roof tile on top to keep it in
place. An acanthus plant eventually surrounds the basket with its leaves. Vitruvius's account
is very durable, still being recounted by Laugier in 1753. Summerson suggests that
Vitruvius's "personalization" of the orders in this fashion opened the way for many such
anthropomorphisms in the Renaissance; the Corinthian came to be associated with notions
such as "virginal," "lascivious," and so on." In the case of the story of the primordial hut as
the origin of all architecture, the account has established such a legacy of treatises over the
centuries that the story has become a kind of domain for logical argumentation unto itself. No
one would literally accept the notion of a single historical hut with this much influence; and
yet the account has become part of the canon.
Why do stories work? A story plays into our need for a workable account of
beginnings; in this sense, it belongs under the rubric of the argument from origin. Because of
this, the successful story is. Usually not of something that is temporally or physically nearby
(that is, something that can easily be proven false on empirical grounds). Rather, a story
makes a connection with the faraway in such a fashion that the mythical qualities, or at least
the connotative or symbolic values, of the present object is enhanced or heightened. Finally, a
workable story usually depends upon a tradition. We see how Dripps's work on the hut, for
example, is readily able to continue that particular tradition; for Dripps to have started the hut
myth from scratch, as it were, would have been much harder to do, and the arguments much
less believable.
keyakinan bahwa bentuk yang dihasilkan akan sesuai untuk lebih besar, lebih umum, striktur
order.
harus memberikan traksi persuasif untuk proses musyawarah. Kasus Semper's, empat elemen,
pertama, kategoris berbeda dari satu sama lain; kedua, mereka tampaknya menangkap
representasi lengkap komponen utama dari sebuah hunian tanpa kecurigaan sesuatu yang
ditinggalkan; dan ketiga, mereka tampaknya deskriptif semua contoh dari tempat tinggal.
11.3.3.2 retoris taktik: Asosiasi atau persekutuan. Cara lain untuk "masuk akal" untuk
penonton adalah oleh Asosiasi, sebuah taktik utama yang budaya/diskursif risalah terhubung
ke alam transendental yang lebih besar. Hal ini sangat penting, misalnya, bahwa perintah
Doric, ion dan Korintus dikaitkan dengan ide-ide antropomorfik. Doric maskulin; Ionik
MATRON; Korintus maidenly. Ini adalah faktor penting untuk banding dan daya tahan
mereka karena mereka mengaitkan fisik dengan masalah karakter dan identitas manusia.
Mempertimbangkan sejumlah risalah modernis awal di mana asosiasi dengan mesin
adalah cara yang menyeluruh yang desain arsitektur tindakan dibenarkan. adalah Moisei
Ginzburg Siyie atid Epoch:
Itu adalah tepatnya mesin, penghuni utama dan master pabrik modern, yang memiliki
sudah melebihi batas yang dan secara bertahap mengisi semua sudut cara hidup kita
dan jiwa kita dan estetika kami, merupakan faktor terpenting yang mempengaruhi
konsepsi kita bentuk.
Terkait dengan Asosiasi adalah persekutuan. Dalam tradisi retoris, perbedaan
pendapat, atau paling tidak kemungkinan, adalah Iegitimate dalam dirinya sendiri. Untuk
tidak setuju dengan peraturan sering menuntut mendengar, asalkan orang yang dissents dapat
diterima kepada para penonton lain. J. N. L. Durand, misalnya, berargumen kuat dalam
perbedaan pendapat menentang posisi Vitruvian bahwa klasik proporsi berasal dari
pengukuran tubuh manusia. Ia mengukur kaki manusia, dan klaim itu ia tidak mampu berasal
dari itu proporsi bangunan ini memuliakan argumen menentukan. Otoritas Durand's, selain
berdiri sendiri akademik dan profesional, menarik dari ide-ide budaya zamannya, yaitu
munculnya mesin dan keberangkatan bertahap dari pemahaman antropomorfik alam untuk
tampilan lebih fungsional/utilitarian. Jadi, bagi para peneliti yang logis pada budaya/diskursif
akhir spektrum, satu pertanyaan untuk ditanyakan adalah ini: Apakah ada faktor-faktor dalam
budaya kontemporer yang dapat digunakan sebagai dasar yang digunakan untuk me-mount
sudut pandang Mbalelo terhadap ajaran sudah diterima, tapi mungkin didasarkan pada faktorfaktor budaya yang ketinggalan zaman?
11.33.3 retoris taktik: cerita. Bersama dengan Asosiasi datang cerita, di mana sesuatu yang
bernama itu diperkuat oleh account yang, pada wajahnya, tidak dibuktikan. Asal-usul ibukota
Korintus adalah kasus di titik: seorang "gadis freeborn" mengambil sakit dan meninggal
dunia; pengasuhnya tempat beberapa barang-barangnya dalam sebuah keranjang atas
kuburnya dengan genteng di atas untuk tetap di tempat. Tanaman acanthus akhirnya
mengelilingi keranjang daun. Vitruvius's account sangat tahan lama, masih yang diceritakan
oleh Laugier pada 1753. Summerson menunjukkan bahwa Vitruvius di "personalisasi"
perintah dalam mode ini membuka jalan bagi banyak anthropomorphisms seperti dalam
Renaisans; Korintus datang berhubungan dengan pengertian seperti "perawan," "gasang", dan
sebagainya." Dalam kasus cerita Hut primordial sebagai asal-usul semua arsitektur, account
telah mendirikan sebuah warisan risalat selama berabad-abad yang cerita telah menjadi
semacam domain untuk argumentasi Logis tersendiri. Tidak ada yang benar-benar akan
menerima gagasan dari sebuah pondok bersejarah yang satu dengan pengaruh ini; dan belum
account telah menjadi bagian dari canon.
Mengapa Apakah cerita bekerja? Bermain cerita ke dalam kebutuhan kita untuk akun
yang dapat dikerjakan dari awal; dalam pengertian ini, itu milik di bawah rubrik argumen dari
asal. Karena ini, kisah sukses ini. biasanya tidak dari sesuatu yang temporal, atau fisik dekat
(, sesuatu yang dapat dengan mudah dibuktikan palsu empiris Taman). Sebaliknya, cerita
membuat koneksi dengan jauh sedemikian bahwa kualitas mitos, atau setidaknya nilai
connotative atau simbolis, objek hadir ditingkatkan atau meningkat. Akhirnya, sebuah cerita
yang bisa diterapkan biasanya tergantung tradisi. Kita lihat bagaimana Dripps's bekerja pada
hut, misalnya, mudah mampu melanjutkan tradisi itu tertentu; untuk Dripps telah mulai hut
mitos dari awal, seolah-olah, pasti jauh lebih sulit untuk dilakukan, dan argumen jauh lebih
dapat dipercaya.