Examples Of Non Artistic Proofs
1. The audience sets the standard. This includes listeners, readers, viewers, and a society.
2. Artistic proofs can be referred to the way a speaker designs a message to meet the values and opinions of the audience and focusing on the standard types of analysis and arguments. Then you have non-artistic proofs which provides pre-existing proofs that were already known that can affect or influence an audience. Speakers can use their own knowledge on non-artistic proofs to make arguments to the audience that will make sense. Aristotle mentions three different kinds of artistic proofs; ethos, pathos, and logos.
3. A critic is ultimately in charge of encoding or understanding a communicators message. Ethos can be referred to us our practical wisdom,
essentially, we want to test if the communicator is worth believing and if they prove to have practical wisdom and virtue within their message. With reputation, we look at it as a non-artistic proof. We are focused more on the speaker’s past reputation and therefore we ignore the message this is being portrayed. The concept of image helps us because it makes it easier for us to make a general picture in our heads with all the given details.
4. The term strategy can be very useful to us in doing neoclassical criticism because it helps us understand how we need to organize the information. We need to look at the work and determine to what extent are the elements in message significant. Having that deeper analysis can really serve to help a critic identify what strategy is being portrayed by the work. When we can look further into a text and find the strategy that is being used it makes it easier for us to evaluate and interpret that message.
5. Effect is something that produces an immediate response to a cause-and-effect. While effectiveness will allow a critic to dig deeper and have more time to discover a more broad range of influences. Effect is more limiting for the neoclassic critic because it has a wide variety of interpretations.
2. Artistic proofs can be referred to the way a speaker designs a message to meet the values and opinions of the audience and focusing on the standard types of analysis and arguments. Then you have non-artistic proofs which provides pre-existing proofs that were already known that can affect or influence an audience. Speakers can use their own knowledge on non-artistic proofs to make arguments to the audience that will make sense. Aristotle mentions three different kinds of artistic proofs; ethos, pathos, and logos.
3. A critic is ultimately in charge of encoding or understanding a communicators message. Ethos can be referred to us our practical wisdom,
essentially, we want to test if the communicator is worth believing and if they prove to have practical wisdom and virtue within their message. With reputation, we look at it as a non-artistic proof. We are focused more on the speaker’s past reputation and therefore we ignore the message this is being portrayed. The concept of image helps us because it makes it easier for us to make a general picture in our heads with all the given details.
4. The term strategy can be very useful to us in doing neoclassical criticism because it helps us understand how we need to organize the information. We need to look at the work and determine to what extent are the elements in message significant. Having that deeper analysis can really serve to help a critic identify what strategy is being portrayed by the work. When we can look further into a text and find the strategy that is being used it makes it easier for us to evaluate and interpret that message.
5. Effect is something that produces an immediate response to a cause-and-effect. While effectiveness will allow a critic to dig deeper and have more time to discover a more broad range of influences. Effect is more limiting for the neoclassic critic because it has a wide variety of interpretations.