Skill, Practice, Performance
Edited By András Benedek and Kristof Nyiri
Visionary Rhetoric:Teaching Imagistic Communication. Petra Aczél
86 Trischa Goodnow – James J. Kimble war to enact their role as a home front soldier, all in order to bring about a more complete world. Conclusion We should emphasize once again that narrative cognition and metaphoric cog- nition are not ordinarily linked. They can – and usually do – operate without in- fluence from each other. Our purpose in this chapter, however, has been to de- monstrate that in many WWII posters narratives and metaphors work hand in hand, providing a story line of the war’s events for their viewers even as they simplify the story by conflating complex domains, such as nations, enemies, or civilians, with domains that are more immediate, such as persons, beasts, or sol- diers. The result, we believe, is a notable use of the rhetoric of possibility, a strat- egy that many poster artists appear to have used to try to show their viewing au- diences an identity and a course of action that could potentially make their flaw- ed world more complete. While it was obviously not a perfect strategy, it was, in the end, a reminder of how deceptively complex propaganda appeals can be.27 27 Special thanks to Christopher Petruzzi, who assisted in collecting and organizing the posters for this study. Visionary Rhetoric: Teaching Imagistic Communication Petra Aczél “…rhetoric remains necessary for our social ex- istence because in our origin, humans began to speak as rude poets, bound to their bodily pas- sions. This moment in our history can never be effaced; therefore,...
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