Dramatism  Griffen Chapter 22
Kenneth Burke (1893-1993) <ul><li>5 Key Concepts  </li></ul><ul><ul><li>Language  </li></ul></ul><ul><ul><li>Motives  </li...
Language (p. 290)  <ul><li>STRATEGIC RESPONSE to SPECIFIC SITUATION  </li></ul><ul><ul><li>Strategy=goal oriented  </li></...
Motives  <ul><li>Psychological and Sociological Impulses  </li></ul><ul><li>Guide all human action  </li></ul><ul><li>Clus...
Drama  <ul><li>Life is Drama  </li></ul><ul><ul><li>C onflict  </li></ul></ul><ul><ul><li>A ction  </li></ul></ul><ul><li>...
Identification (p. 290) <ul><li>“ Recognized common ground between speaker and audience”  </li></ul><ul><li>Characteristic...
Establishing Identification (p. 290) <ul><li>Established through style and content  </li></ul><ul><ul><li>“ Cat’s in the C...
The Pentad: 5 Key Concepts (291)  <ul><li>A c t  </li></ul><ul><li>Scene </li></ul><ul><li>Agent </li></ul><ul><li>Agency ...
The Pentad: 5 Key Concepts (291)  <ul><li>A c t  </li></ul><ul><ul><li>What happened </li></ul></ul><ul><li>Scene </li></u...
Griffen’s Visual and Synonyms (291) p.291 Act Scene Agent Agency Purpose Response Situation Subject Stimulus Target
Burke and Religion (p. 291) <ul><li>Burke uses the religious allusion consubstantiation for identification </li></ul><ul><...
God Terms v. Devil Terms (p. 291) <ul><li>Cluster of Words </li></ul><ul><ul><li>R eveal attitudes  </li></ul></ul><ul><li...
Back to the Pentad  <ul><li>Ratio  </li></ul><ul><ul><li>To find the speaker’s motivation </li></ul></ul><ul><ul><li>Indiv...
Speaker’s Worldview (291) <ul><li>Stressing 1 Element of the Pentad </li></ul><ul><ul><li>Act=commitment to realism </li><...
Back to Religion: Guilt and Redemption (292-93) <ul><li>Pilgrims as Puritans  </li></ul><ul><ul><li>Motivation: Purging Gu...
A Common Appeal (293) <ul><li>Burke recognized redemption through victimage as a very common appeal  </li></ul><ul><li>Nob...
Criticisms of Burke (295) <ul><li>Confusing  </li></ul><ul><ul><li>Multiple vocabularies  </li></ul></ul><ul><ul><ul><li>S...
The Importance of Burke <ul><li>Identification </li></ul><ul><ul><li>Most important contribution  </li></ul></ul><ul><li>P...
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Dramatism Bg Revision

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Developed to accompany Em Griffen\'s Communication Theory textbook

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Dramatism Bg Revision

  1. 1. Dramatism Griffen Chapter 22
  2. 2. Kenneth Burke (1893-1993) <ul><li>5 Key Concepts </li></ul><ul><ul><li>Language </li></ul></ul><ul><ul><li>Motives </li></ul></ul><ul><ul><li>Drama </li></ul></ul><ul><ul><li>Identification </li></ul></ul><ul><ul><li>Pentad </li></ul></ul>
  3. 3. Language (p. 290) <ul><li>STRATEGIC RESPONSE to SPECIFIC SITUATION </li></ul><ul><ul><li>Strategy=goal oriented </li></ul></ul><ul><ul><li>Situation=time, place, and actions </li></ul></ul><ul><li>EXAMPLE: Return to dormitory late </li></ul><ul><li>EXAMPLE: Asked out on a date </li></ul>
  4. 4. Motives <ul><li>Psychological and Sociological Impulses </li></ul><ul><li>Guide all human action </li></ul><ul><li>Clusters of words </li></ul><ul><ul><li>D ances of attitudes </li></ul></ul><ul><li>Role of the Critic </li></ul><ul><ul><li>Assess motives </li></ul></ul>
  5. 5. Drama <ul><li>Life is Drama </li></ul><ul><ul><li>C onflict </li></ul></ul><ul><ul><li>A ction </li></ul></ul><ul><li>Example: “Cat’s in the Cradle” Harry Chapin </li></ul><ul><ul><li>http://www.tudou.com/programs/view/VP1Kd54b1_o/ </li></ul></ul>
  6. 6. Identification (p. 290) <ul><li>“ Recognized common ground between speaker and audience” </li></ul><ul><li>Characteristics </li></ul><ul><ul><li>P hysical characteristics </li></ul></ul><ul><ul><li>T alents </li></ul></ul><ul><ul><li>O ccupations </li></ul></ul><ul><ul><li>E xperiences </li></ul></ul><ul><ul><li>beliefs </li></ul></ul>
  7. 7. Establishing Identification (p. 290) <ul><li>Established through style and content </li></ul><ul><ul><li>“ Cat’s in the Cradle” lyrics </li></ul></ul><ul><ul><ul><li>“ I’m gonna be like you” </li></ul></ul></ul><ul><ul><ul><li>“ man in the moon” </li></ul></ul></ul><ul><ul><ul><li>“ coming home” </li></ul></ul></ul><ul><li>Flows between speaker and audience </li></ul>
  8. 8. The Pentad: 5 Key Concepts (291) <ul><li>A c t </li></ul><ul><li>Scene </li></ul><ul><li>Agent </li></ul><ul><li>Agency </li></ul><ul><li>Purpose </li></ul>
  9. 9. The Pentad: 5 Key Concepts (291) <ul><li>A c t </li></ul><ul><ul><li>What happened </li></ul></ul><ul><li>Scene </li></ul><ul><ul><li>Situation </li></ul></ul><ul><li>Agent </li></ul><ul><ul><li>Who </li></ul></ul><ul><li>Agency </li></ul><ul><ul><li>Power </li></ul></ul><ul><li>Purpose </li></ul><ul><ul><li>Goal </li></ul></ul>
  10. 10. Griffen’s Visual and Synonyms (291) p.291 Act Scene Agent Agency Purpose Response Situation Subject Stimulus Target
  11. 11. Burke and Religion (p. 291) <ul><li>Burke uses the religious allusion consubstantiation for identification </li></ul><ul><ul><li>Christian/Protestant </li></ul></ul><ul><ul><li>Bread and Wine Spiritually Christ not physically </li></ul></ul><ul><li>God Term </li></ul><ul><ul><li>Most significant positive term </li></ul></ul><ul><li>Devil Terms </li></ul><ul><ul><li>Most significant negative term </li></ul></ul>
  12. 12. God Terms v. Devil Terms (p. 291) <ul><li>Cluster of Words </li></ul><ul><ul><li>R eveal attitudes </li></ul></ul><ul><li>God=positive </li></ul><ul><li>Devil=Negative </li></ul><ul><li>Terministic Screens: the God and Devil terms dictate the interpretation of the drama </li></ul>
  13. 13. Back to the Pentad <ul><li>Ratio </li></ul><ul><ul><li>To find the speaker’s motivation </li></ul></ul><ul><ul><li>Individual pairs (i.e., Act:Scene or Agency:Purpose) </li></ul></ul><ul><li>Anchor Term </li></ul><ul><li>Secondary Terms </li></ul>
  14. 14. Speaker’s Worldview (291) <ul><li>Stressing 1 Element of the Pentad </li></ul><ul><ul><li>Act=commitment to realism </li></ul></ul><ul><ul><li>Scene=situational determinism </li></ul></ul><ul><ul><li>Agent=Idealism </li></ul></ul><ul><ul><li>Agency=pragmatism </li></ul></ul><ul><ul><li>Purpose=mysticism </li></ul></ul>
  15. 15. Back to Religion: Guilt and Redemption (292-93) <ul><li>Pilgrims as Puritans </li></ul><ul><ul><li>Motivation: Purging Guilt </li></ul></ul><ul><ul><li>Motivation: Drive for Perfection </li></ul></ul><ul><li>Testimony and Confession </li></ul><ul><li>Redemption through “Victimage” </li></ul><ul><ul><li>The Scapegoat </li></ul></ul><ul><ul><ul><li>Blaming external enemy </li></ul></ul></ul>
  16. 16. A Common Appeal (293) <ul><li>Burke recognized redemption through victimage as a very common appeal </li></ul><ul><li>Nobody recommends redemption through victimage </li></ul><ul><li>Examples </li></ul><ul><ul><li>Adolph Hilter and the Jews </li></ul></ul><ul><ul><li>Ku Klux Klan and African Americans </li></ul></ul>
  17. 17. Criticisms of Burke (295) <ul><li>Confusing </li></ul><ul><ul><li>Multiple vocabularies </li></ul></ul><ul><ul><ul><li>Sociology, literary criticism, media studies, anthropology </li></ul></ul></ul><ul><ul><li>Cultural and literary allusions </li></ul></ul><ul><ul><ul><li>Q uick references without explanation </li></ul></ul></ul><ul><li>Reliance on religion </li></ul><ul><ul><li>N ot everyone agrees with his totalizing claims </li></ul></ul>
  18. 18. The Importance of Burke <ul><li>Identification </li></ul><ul><ul><li>Most important contribution </li></ul></ul><ul><li>Pentad </li></ul><ul><ul><li>Allows the drama based study of communication </li></ul></ul><ul><ul><ul><li>S ocial movements </li></ul></ul></ul><ul><ul><ul><li>Films </li></ul></ul></ul><ul><ul><ul><li>Advertising/PR Campaigns </li></ul></ul></ul>

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