SLO 3: Literary & Rhetorical Traditions

Literary Traditions in Historical and Cultural Contexts

Professor Carstensen provided learning materials through Blackboard for the extent of each of her courses (ENG 3302, 3364, 3362, and 4385). These materials focused on poetic forms' features in regard to the forms' cultural origins, histories, and contexts of use. For instance, each of these forms set parameters according to their historical origin: ghazals began in seventh century Arabia and necessitate: strict line endings; line organization, formation, and length; refrain; and overall motif. Odes, similarly, date back to ancient Greek civilizations and are actually performance-focused, using lyrical language, apostrophe, and multiple stanzas to convey rapt appreciation of, typically, something tangible like a certain object or person. Pantoums, in contrast, are a more modern poetic form. Yet, pantoums still adhere to strict stanza and refrain measures to manipulate language and uniquely approach their subject. Lastly, the villanelle form has crossed cultures to offer us the highly structured poem we know today that focuses on language manipulation to adhere to the form's rhyme scheme, stanza  presentation, and refrain patterns. Originally a more lenient form used for Italian songs, the modern villanelle was initiated and popularized by recent American poets.

So, at TAMUCC, my understanding of literary traditions has come from applying such traditional poetic forms--like ghazal, ode, pantoum, and villanelle--to original poetic works. I have worked within each of these forms and adhered to the parameters defined by each form's context, history, and origin. I discuss my ghazal below. 

Rhetorical Traditions in Historical and Cultural Contexts

My knowledge of rhetorical traditions stems from ENG 3303, or "Introduction to Writing Studies." Throughout this course, I completed reading responses summarizing and elucidating other writing scholars' knowledge of modern rhetoric practices in response and opposition to tradition, offering personal application opportunities of that knowledge to coursework and other writing endeavors, interacting with the scholars' opinions to reflect and expand upon their conclusions, and recognizing connections of rhetorical traditions, practices, and techniques to my written material within the course. For instance, I specifically interacted with scholars' conclusions about common language patterns and regulations in Western society as it applies to cultural and class mobility and context.

In ENG 3303, I also responded to readings which communicated the importance of conveying one's written message post-analysis of the audience's demographic, expectations regarding information presentation, and cultural communication customs. When analyzing each reading, I related each discussion of rhetorical tradition to modern-day educational applications of these customs.

SLO 3 & ENG 3302 Ghazal 

A ghazal is a poetic form that originated in seventh-century Arabia (Academy of American Poets, 2014). As more English-speaking poets started working within the ghazal form, they noticed that the differences in the linguistic features between the two languages which made some of the form's poetic features difficult to implement and maintain. For instance, one unique feature of the ghazal lies in its refrain pattern and rhyme scheme: in the five-fifteen couplets that make up a ghazal, the refrain must be established at the end of the first couplet's second line. However, unlike refrains in other poetic forms that simply repeat the same word or phrase throughout the piece, the ghazal necessitates that the poet then use that last word of the poem's second line as a base rhyme for the last word of each couplet to follow. As I was revising my own ghazal in ENG 3302, I noticed that this was a particularly difficult concept to employ while still maintaining correct English grammar and the form's other conventions and expectations.

In addition to the unique refrain pattern, ghazal tradition also necessitates that each line be roughly the same length (not necessarily the same metrical pattern throughout). Furthermore, ghazals also "
[invoke] melancholy, love, longing, and metaphysical questions" (Academy of American Poets, 2014)--this even more so limits the poet. 

In my own  ghazal, I chose to work within a metaphysical theme, discussing such topics as religion v. human nature and humanity as well as power in relation to knowledge. Similarly ensuring I followed ghazal tradition, I composed my ghazal using five couplets, the rhyming refrain "tree," and lines roughly the same length with some exceptions. Furthermore, I added elements of characterization through dialogue and internal dialogue. 

SLO 3 & ENG 3303 Reading Responses

"Reading Response: Codes and Contexts, Communication at a Distance, Rhetoric and Writing"

In this ENG 3303 reading response, I discussed rhetorical tradition by summarizing, reflecting upon, and expanding upon some fundamental rhetorical concepts introduced in the reading. 

For instance, I summarized content relating to audience fictionalization, a concept crucial for any rhetor to participant in, and discussed how, as technology advances almost in favor of a primarily digital audience, a modern rhetor's rhetorical strategies and audience fictionalization must be even more fine-tuned. In this discussion, I also related one's ability to communicate effectively in relation to their status in modern American society and even 'class' standing as, unfortunately, this is still prevalent today. Furthermore, I touched on how language expectations and needs change from culture to culture, region to region, and social status to social status, emphasizing the need for even more rhetorical analysis regarding language patterns and rhetorical methods. 

Overall, in this reading response, I related my new knowledge of rhetoric fundamentals to my writing process and shaped it for the future. For instance, in interaction with the text's author, I asked  questions like: "Before ancient orators created and used rhetoric, how were societies different? Was there more disagreement, more war? I know rhetoric is sometimes looked down upon as an academic approach to brainwashing and the like, but how have the benefits of rhetoric advanced societies throughout history?" and made observations such as: "I would like to ask [the text's author if there are] any surefire methods for always making sure to include context in one’s writing. I feel context . . .  may be so easy to forget in certain genres of writing (such as how some scientific genres require an abstract and a clear statement of the issue at hand with response scenario given) when the writer is so familiar with the context--he may forget the reader is not." 

"Reading Response: What is Writing, Metaconcept, and Threshold Concepts"

For this reading response, I discussed a multitude of ideas relating rhetorical approaches to culture and history. For instance, I wrote about: how successful written communication depends on recognizing and responding to cultural differences, acknowledging and catering to audience demographic in relation to the audience's cultural expectations; and how effective writing and rhetorical technique takes the historical development of both writing and rhetoric into account. 

Referring to the importance of the writing's--and, in turn, rhetoric's--history, I made observations such as: "Wardle and Adler-Kassner want [students] to dive into writing’s history and interpret the production, technological advancements, and perceptions revolving around the craft. [Students] may understand the basics of writing--its versatility for example--but must employ and manipulate it further to understand all being a “writer” entails. [Students] are pushed to realize that writing encompasses the past and the future not just [the] present." Again, I also interacted with the text's authors, asking questions like "Writing is [sometimes] perceived as a rigid and solitary discipline. When did this perception begin--was it written word itself that forged this [general] consensus?" Such observations and questions acknowledge the importance of knowing writing's histories in order to effectively write and employ rhetorical traditions and/or principles today.