Since Text 1, the written genre, is persuasive, you are going to be making an argument. For this discussion, you should first read Chapter 16 âStrategies for Supporting an Argumentâ on pages 339-361 in our textbook. This chapter outlines different strategies that writers can use to make effective arguments. For this discussion post, choose at least 3 of these strategies that you think might be useful in writing for this project. Then, post a reply to this discussion board that addresses the following:
Who is your audience and what is the particular stance you are taking in your persuasive text?
For each of the 3 strategies, answer the following questions:
What is the strategy that you might incorporate?
In 2-3 sentences, how do you understand what this strategy includes?
Why do you think this particular strategy might be persuasive for your specific audience and/or stance?
Sample Solution
stripped of its elevated position as a secure space and instead occupies a more liminal position, prone to change and invasion. This differs from Tagoreâs text which has no apparent engagement with capitalist affairs at the outset. Instead, Bimalaâs household is initially unmarred by the influence of external forces âIt transcended all debates, or doubts, or calculations: it was pure music.â (18). However, it would presumptuous to suggest that this state of bliss is indefinite as the looming presence of the outside world is certainly visible within Bimalaâs narrative âWhat do I want with the outside world?â (23). Such allusions are important as they highlight the threat of what lurks beyond the safety of the household. In this sense, Bermanâs vision of modernity as âa maelstrom of perpetual disintegrationâ (15) does not coalesce neatly with how it is presented in Ibsen and Tagoreâs texts. This is because a maelstrom is indicative of a vortex, consuming the matter that surrounds it. It is not subtle, it is antagonistic. Yet, in both pieces it is more akin to an infection, spreading outwards and contaminating all that it touches. It is not an aggressive force, like a maelstrom, as much as it is an inevitable process of change.>
stripped of its elevated position as a secure space and instead occupies a more liminal position, prone to change and invasion. This differs from Tagoreâs text which has no apparent engagement with capitalist affairs at the outset. Instead, Bimalaâs household is initially unmarred by the influence of external forces âIt transcended all debates, or doubts, or calculations: it was pure music.â (18). However, it would presumptuous to suggest that this state of bliss is indefinite as the looming presence of the outside world is certainly visible within Bimalaâs narrative âWhat do I want with the outside world?â (23). Such allusions are important as they highlight the threat of what lurks beyond the safety of the household. In this sense, Bermanâs vision of modernity as âa maelstrom of perpetual disintegrationâ (15) does not coalesce neatly with how it is presented in Ibsen and Tagoreâs texts. This is because a maelstrom is indicative of a vortex, consuming the matter that surrounds it. It is not subtle, it is antagonistic. Yet, in both pieces it is more akin to an infection, spreading outwards and contaminating all that it touches. It is not an aggressive force, like a maelstrom, as much as it is an inevitable process of change.>
