Research Writing and Argument: All Writing is Argument

This chapter is about rhetoric—the art of persuasion. Every time we write, we engage in argument. Through writing, we try to persuade and influence our readers, either directly or indirectly. We work to get them to change their minds, to do something, or to begin thinking in new ways. Therefore, every writer needs to know and be able to use principles of rhetoric. The first step towards such knowledge is learning to see the argumentative nature of all writing.

I have two goals in this chapter: to explain the term rhetoric and to give you some historical perspective on its origins and development; and to demonstrate the importance of seeing research writing as a rhetorical, persuasive activity.

As consumers of written texts, we are often tempted to divide writing into two categories: argumentative and non-argumentative. According to this view, in order to be argumentative, writing must have the following qualities. It has to defend a position in a debate between two or more opposing sides; it must be on a controversial topic; and the goal of such writing must be to prove the correctness of one point of view over another.

On the other hand, this view goes, non-argumentative texts include narratives, descriptions, technical reports, news stories, and so on. When deciding to which category a given piece of writing belongs, we sometimes look for familiar traits of argument, such as the presence of a thesis statement, of “factual” evidence, and so on.

Research writing is often categorized as “non-argumentative.” This happens because of the way in which we learn about research writing. Most of us do that through the traditional research report, the kind which focuses too much on information-gathering and note cards and not enough on constructing engaging and interesting points of view for real audiences. It is the gathering and compiling of information, and not doing something productive and interesting with this information, that become the primary goals of this writing exercise. Generic research papers are also often evaluated on the quantity and accuracy of external information that they gather, rather on the persuasive impact they make and the interest they generate among readers.

Having written countless research reports, we begin to suspect that all research-based writing is non-argumentative. Even when explicitly asked to construct a thesis statement and support it through researched evidence, beginning writers are likely to pay more attention to such mechanics of research as finding the assigned number and kind of sources and documenting them correctly, than to constructing an argument capable of making an impact on the reader.

ARGUMENTS AREN’T VERBAL FIGHTS

We often have narrow concept of the word “argument.” In everyday life, argument often implies a confrontation, a clash of opinions and personalities, or just a plain verbal fight. It implies a winner and a loser, a right side and a wrong one. Because of this understanding of the word “argument,” the only kind of writing seen as argumentative is the debate-like “position” paper, in which the author defends his or her point of view against other, usually opposing points of view.

Such an understanding of argument is narrow because arguments come in all shapes and sizes. I invite you to look at the term “argument” in a new way. What if we think of “argument” as an opportunity for conversation, for sharing with others our point of view on something, for showing others our perspective of the world? What if we see it as the opportunity to tell our stories, including our life stories? What if we think of “argument” as an opportunity to connect with the points of view of others rather than defeating those points of view?

Some years ago, I heard a conference speaker define argument as the opposite of “beating your audience into rhetorical submission.” I still like that definition because it implies gradual and even gentle explanation and persuasion instead of coercion. It implies effective use of details, and stories, including emotional ones. It implies the understanding of argument as an explanation of one’s world view.

Arguments then, can be explicit and implicit, or implied. Explicit arguments contain noticeable and definable thesis statements and lots of specific proofs. Implicit arguments, on the other hand, work by weaving together facts and narratives, logic and emotion, personal experiences and statistics. Unlike explicit arguments, implicit ones do not have a one-sentence thesis statement. Instead, authors of implicit arguments use evidence of many different kinds in effective and creative ways to build and convey their point of view to their audience. Research is essential for creative effective arguments of both kinds.

To consider the many types and facets of written argumentation, consider the following exploration activity.

WRITING ACTIVITY: ANALYZING WRITING SITUATIONS

Working individually or in small groups, consider the following writing situations. Are these situations opportunities for argumentative writing? If so, what elements of argument do you see? Use your experience as a reader and imagine the kinds of published texts that might result from these writing situations. Apply the ideas about argument mentioned so far in this chapter, including the “explicit” and “implicit” arguments

• A group of scientists develops a hypothesis and conducts a series of experiments to test it. After obtaining the results from those experiments, they decide to publish their findings in a scientific journal. However, the data can be interpreted in two ways. The authors can use a long-standing theory with which most of his colleagues agree. But they can also use a newer and more ambitious theory on which there is no consensus in the field, but which our authors believe to be more comprehensive and up-to-date. Using different theories will produce different interpretations of the data and different pieces of writing. Are both resulting texts arguments? Why or why not?

• An author wants to write a memoir. She is particularly interested in her relationship with her parents as a teenager. In order to focus on that period of her life, she decides to omit other events and time periods from the memoir. The finished text is a combination of stories, reflections, and facts. This text does not have a clear thesis statement or proofs. Could this “selective” memory” writing be called an argument? What are the reasons for your decision?

• A travel writer who is worried about global warming goes to Antarctica and observes the melting of the ice there. Using her observations, interviews with scientists, and secondary research, she then prepares an article about her trip for The National Geographic magazine or a similar publication. Her piece does not contain a one-sentence thesis statement or a direct call to fight global warming. At the same time, her evidence suggests that ice in the Arctic melts faster than it used to. Does this writer engage in argument? Why or why not? What factors influenced your decision?

• A novelist writes a book based on the events of the American Civil War. He recreates historical characters from archival research, but adds details, descriptions, and other characters to his book that are not necessarily historic. The resulting novel is in the genre known as “historical fiction.” Like all works of fiction, the book does not have a thesis statement or explicit proofs. It does, however, promote a certain view of history, some of which is based on the author’s research and some—on his imagination and creative license. Is this a representation of history, an argument, or a combination of both? Why or why not?

You can probably think of many more examples when argument in writing is expressed through means other than the traditional thesis statement and proofs. As you work through this book, continue to think about the nature of argument in writing and discuss it with your classmates and your instructor.

DEFINITIONS OF RHETORIC AND THE RHETORICAL SITUATION

The art of creating effective arguments is explained and systematized by a discipline called rhetoric. Writing is about making choices, and knowing the principles of rhetoric allows a writer to make informed choices about various aspects of the writing process. Every act of writing takes places in a specific rhetorical situation. The three most basic and important components of a rhetorical situations are:

• Purpose of writing
• Intended audience,
• Occasion, or context in which the text will be written and read

These factors help writers select their topics, arrange their material, and make other important decisions about their work.

Before looking closely at different definitions and components of rhetoric, let us try to understand what rhetoric is not. In recent years, the word “rhetoric” has developed a bad reputation in American popular culture. In the popular mind, the term “rhetoric” has come to mean something negative and deceptive. Open a newspaper or turn on the television, and you are likely to hear politicians accusing each other of “too much rhetoric and not enough substance.” According to this distorted view, rhetoric is verbal fluff, used to disguise empty or even deceitful arguments.

Examples of this misuse abound. Here are some examples.

A 2003 CNN news article “North Korea Talks On Despite Rhetoric” describes the decision by the international community to continue the talks with North Korea about its nuclear arms program despite what the author sees as North Koreans’ “rhetorical blast” at a US official taking part in the talks. The implication here is that that, by verbally attacking the US official, the North Koreans attempted to hide the lack of substance in their argument. The word “rhetoric” in this context implies a strategy to deceive or distract.

Another example is the title of the now-defunct political website “Spinsanity: Countering Rhetoric with Reason.” The website’s authors state that “engaged citizenry, active press and strong network of fact-checking websites and blogs can help turn the tide of deception that we now see.” (http://www.spinsanity.org). What this statement implies, of course, is that rhetoric is “spin” and that it is the opposite of truth.

Rhetoric is not a dirty trick used by politicians to conceal and obscure, but an art, which, for many centuries, has had many definitions. Perhaps the most popular and overreaching definition comes to us from the Ancient Greek thinker Aristotle. Aristotle defined rhetoric as “the faculty of observing in any given case
the available means of persuasion” (Ch.2). Aristotle saw primarily as a practical tool, indispensable for civic discourse.

ELEMENTS OF THE RHETORICAL SITUATION

When composing, every writer must take into account the conditions under which the writing is produced and will be read. It is customary to represent the three key elements of the rhetorical situation as a triangle of writer, reader, and text, or, as “communicator,” “audience,” and “message.”

The three elements of the rhetorical situation are in a constant and dynamic interrelation. All three are also necessary for communication through writing to take place. For example, if the writer is taken out of this equation, the text will not be created. Similarly, eliminating the text itself will leave us with the reader and writer, but without any means of conveying ideas between them, and so on.

Moreover, changing on or more characteristics of any of the elements depicted in the figure above will change the other elements as well. For example, with the change in the beliefs and values of the audience, the message will also likely change to accommodate those new beliefs, and so on.

In his discussion of rhetoric, Aristotle states that writing’s primary purpose is persuasion. Other ancient rhetoricians’ theories expand the scope of rhetoric by adding new definitions, purposes, and methods. For example, another Greek philosopher and rhetorician Plato saw rhetoric as a means of discovering the truth, including personal truth, through dialog and discussion. According to Plato, rhetoric can be directed outward (at readers or listeners), or inward (at the writer him or herself). In the latter case, the purpose of rhetoric is to help the author discover something important about his or her own experience and life.

The third major rhetorical school of Ancient Greece whose views have profoundly influenced our understanding of rhetoric were the Sophists. The Sophists were teachers of rhetoric for hire. The primary goal of their activities was to teach skills and strategies for effective speaking and writing. Many Sophists claimed that they could make anyone into an effective rhetorician. In their most extreme variety, Sophistic rhetoric claims that virtually anything could be proven if the rhetorician has the right skills. The legacy of Sophistic rhetoric is controversial. Some scholars, including Plato himself, have accused the Sophists of bending ethical standards in order to achieve their goals, while others have praised them for promoting democracy and civic participation through argumentative discourse.

What do these various definitions of rhetoric have to do with research writing? Everything! If you have ever had trouble with a writing assignment, chances are it was because you could not figure out the assignment’s purpose. Or, perhaps you did not understand very well whom your writing was supposed to appeal to. It is hard to commit to purposeless writing done for no one in particular.

Research is not a very useful activity if it is done for its own sake. If you think of a situation in your own life where you had to do any kind of research, you probably
had a purpose that the research helped you to accomplish. You could, for example, have been considering buying a car and wanted to know which make and model would suite you best. Or, you could have been looking for an apartment to rent and wanted to get the best deal for your money. Or, perhaps your family was planning a vacation and researched the best deals on hotels, airfares, and rental cars. Even in these simple examples of research that are far simpler than research most writers conduct, you as a researcher were guided by some overriding purpose. You researched because you had a purpose to accomplish.

HOW TO APPROACH WRITING TASKS RHETORICALLY

The three main elements of rhetorical theory are purpose, audience, and occasion. We will look at these elements primarily through the lens of Classical Rhetoric, the rhetoric of Ancient Greece and Rome. Principles of classical rhetoric (albeit some of them modified) are widely accepted across the modern Western civilization. Classical rhetoric provides a solid framework for analysis and production of effective texts in a variety of situations.

PURPOSE

Good writing always serves a purpose. Texts are created to persuade, entertain, inform, instruct, and so on. In a real writing situation, these discrete purposes are often combined.

 AUDIENCE

The second key element of the rhetorical approach to writing is audience-awareness. As you saw from the rhetorical triangle earlier in this chapter, readers are an indispensable part of the rhetorical equation, and it is essential for every writer to understand their audience and tailor his or her message to the audience’s needs.

The key principles that every writer needs to follow in order to reach and affect his or her audience are as follows:

• Have a clear idea about who your readers will be.
• Understand your readers’ previous experiences, knowledge, biases, and expectations and how these factors can influence their reception of your argument.
• When writing, keep in mind not only those readers who are physically present or whom you know (your classmates and instructor), but all readers who would benefit from or be influenced by your argument.
• Choose a style, tone, and medium of presentation appropriate for your intended audience.

OCCASION

Occasion is an important part of the rhetorical situation. It is a part of the writing context that was mentioned earlier in the chapter. Writers do not work in a vacuum. Instead, the content, form and reception of their work by readers are heavily influenced by the conditions in society as well as by personal situations of their readers. These conditions in which texts are created and read affect every aspect of writing and every stage of the writing process, from topic selection, to decisions about what kinds of arguments used and their arrangement, to the writing style, voice, and persona which the writer wishes to project in his or her writing. All elements of the rhetorical situation work together in a dynamic relationship. Therefore, awareness of rhetorical occasion and other elements of the context of your writing will also help you refine your purpose and understand your audience better. Similarly having a clear purpose in mind when writing and knowing your audience will help you understand the context in which you are writing and in which your work will be read better.

One aspect of writing where you can immediately benefit from understanding occasion and using it to your rhetorical advantage is the selection of topics for your compositions. Any topic can be good or bad, and a key factor in deciding on whether it fits the occasion. In order to understand whether a particular topic is suitable for a composition, it is useful to analyze whether the composition would address an issue, or a rhetorical exigency when created. The writing activity below can help you select topics and issues for written arguments.

To understand how writers can study and use occasion in order to make effective arguments, let us examine another ancient rhetorical concept. Kairos is one of the most fascinating terms from Classical rhetoric. It signifies the right, or opportune moment for an argument to be made. It is such a moment or time when the subject of the argument is particularly urgent or important and when audiences are more likely to be persuaded by it. Ancient rhetoricians believed that if the moment for the argument is right, for instance if there are conditions in society which would make the audience more receptive to the argument, the rhetorician would have more success persuading such an audience.

For example, as I write this text, a heated debate about the war on terrorism and about the goals and methods of this war is going on in the US. It is also the year of the Presidential Election, and political candidates try to use the war on terrorism to their advantage when they debate each other. These are topics of high public interested, with print media, television, radio, and the Internet constantly discussing them. Because there is an enormous public interest in the topic of terrorism, well-written articles and reports on the subject will not fall on deaf ears. Simply put, the moment, or occasion, for the debate is right, and it will continue until public interest in the subject weakens or disappears.

RHETORICAL APPEALS

In order to persuade their readers, writers must use three types of proofs or rhetorical appeals. They are logos, or logical appeal; pathos, or emotional appeal; and ethos, or ethical appeal, or appeal based on the character and credibility of the author. It is easy to notice that modern words “logical,” “pathetic,” and “ethical” are derived from those Greek words. In his work Rhetoric, Aristotle writes that the three appeals must be used together in every piece of persuasive discourse. An argument based on the appeal to logic, or emotions alone will not be an effective one.

Understanding how logos, pathos, and ethos should work together is very important for writers wh use research. Often, research writing assignment are written in a way that seems to emphasize logical proofs over emotional or ethical ones. Such logical proofs in research papers typically consist of factual information, statistics, examples, and other similar evidence. According to this view, writers of academic papers need to be unbiased and objective, and using logical proofs will help them to be that way.

Because of this emphasis on logical proofs, you may be less familiar with the kinds of pathetic and ethical proofs available to you. Pathetic appeals, or appeals to emotions of the audience were considered by ancient rhetoricians as important as logical proofs. Yet, writers are sometimes not easily convinced to use pathetic appeals in their writing. As modern rhetoricians and authors of the influential book Classical Rhetoric for the Modern Student (1998), Edward P.J. Corbett and Robert Connors said, “People are rather sheepish about acknowledging that their opinions can be affected by their emotions” (86). According to Corbett, many of us think that there may be something wrong about using emotions in argument. But, I agree with Corbett and Connors, pathetic proofs are not only admissible in argument, but necessary (86-89). The most basic way of evoking appropriate emotional responses in your audience, according to Corbett, is the use of vivid descriptions (94).

Using ethical appeals, or appeals based on the character of the writer, involves establishing and maintaining your credibility in the eyes of your readers. In other words, when writing, think about how you are presenting yourself to your audience. Do you give your readers enough reasons to trust you and your argument, or do you give them reasons to doubt your authority and your credibility? Consider all the times when your decision about the merits of a given argument was affected by the person or people making the argument. For example, when watching television news, are you predisposed against certain cable networks and more inclined towards others because you trust them more?

So, how can a writer establish a credible persona for his or her audience? One way to do that is through external research. Conducting research and using it well in your writing help with you with the factual proofs (logos), but it also shows your readers that you, as the author, have done your homework and know what you are talking about. This knowledge, the sense of your authority that this creates among your readers, will help you be a more effective writer.

The logical, pathetic, and ethical appeals work in a dynamic combination with one another. It is sometimes hard to separate one kind of proof from another and the methods by which the writer achieved the desired rhetorical effect. If your research contains data which is likely to cause your readers to be emotional, it data can enhance the pathetic aspect of your argument. The key to using the three appeals, is to use them in combination with each other, and in moderation. It is impossible to construct a successful argument by relying too much on one or two appeals while neglecting the others.

RESEARCH WRITING AS CONVERSATION

Writing is a social process. Texts are created to be read by others, and in creating those texts, writers should be aware of not only their personal assumptions, biases, and tastes, but also those of their readers. Writing, therefore, is an interactive process. It is a conversation, a meeting of minds, during which ideas are exchanged, debates and discussions take place and, sometimes, but not always, consensus is reached. You may be familiar with the famous quote by the 20th century rhetorician Kenneth Burke who compared writing to a conversation at a social event. In his 1974 book The Philosophy of Literary Form Burke writes,

Imagine that you enter a parlor. You come late. When you arrive, others have long preceded you, and they are engaged in a heated discussion, a discussion too heated for them to pause and tell you exactly what it is about. In fact, the discussion had already begun long before any of them got there, so that no one present is qualified to retrace for you all the steps that had gone before. You listen for a while, until you decide that you have caught the tenor of the argument; then you put in your oar. Someone answers; you answer him, another comes to your defense; another aligns himself against you, to either the embarrassment of gratification of your opponent, depending upon the quality of your ally’s assistance. However, the discussion is interminable. The hour grows late, you must depart. And you do depart, with the discussion still vigorously in progress (110-111).

This passage by Burke is extremely popular among writers because it captures the interactive nature of writing so precisely. Reading Burke’s words carefully, we will notice that the interaction between readers and writers is continuous. A writer always enters a conversation in progress. In order to participate in the discussion, just like in real life, you need to know what your interlocutors have been talking about. So you listen (read). Once you feel you have got the drift of the conversation, you say (write) something. Your text is read by others who respond to your ideas, stories, and arguments with their own. This interaction never ends!

To write well, it is important to listen carefully and understand the conversations that are going on around you. Writers who are able to listen to these conversations and pick up important topics, themes, and arguments are generally more effective at reaching and impressing their audiences. It is also important to treat research, writing, and every occasion for these activities as opportunities to participate in the on-going conversation of people interested in the same topics and questions which interest you.

Our knowledge about our world is shaped by the best and most up-to-date theories available to them. Sometimes these theories can be experimentally tested and proven, and sometimes, when obtaining such proof is impossible, they are based on consensus reached as a result of conversation and debate. Even the theories and knowledge that can be experimentally tested (for example in sciences) do not become accepted knowledge until most members of the scientific community accept them. Other members of this community will help them test their theories and hypotheses, give them feedback on their writing, and keep them searching for the best answers to their questions. As Burke says in his famous passage, the interaction between the members of intellectual communities never ends. No piece of writing, no argument, no theory or discover is ever final. Instead, they all are subject to discussion, questioning, and improvement.

A simple but useful example of this process is the evolution of humankind’s understanding of their planet Earth and its place in the Universe. As you know, in Medieval Europe, the prevailing theory was that the Earth was the center of the Universe and that all other planets and the Sun rotated around it. This theory was the result of the church’s teachings, and thinkers who disagreed with it were pronounced heretics and often burned. In 1543, astronomer Nikolaus Kopernikus argued that the Sun was at the center of the solar system and that all planets of the system rotate around the Sun. Later, Galieo experimentally proved Kopernikus’ theory with the help of a telescope. Of course, the Earch did not begin to rotate around the Sun with this discovery. Yet, Kopernikus’ and Galileo’s theories of the Universe went against the Catholic Church’s teachings which dominated the social discourse of Medieval Europe. The Inquisition did not engage in debate with the two scientists. Instead, Kopernikus was executed for his views and Galileo was sentenced to house arrest for his views.

Although in the modern world, dissenting thinkers are unlikely to suffer such harsh punishment, the examples of Kopernikus and Galileo teach us two valuable lessons about the social nature of knowledge. Firstly, Both Kopernikus and Galileo tried to improve on an existing theory of the Universe that placed our planet at the center. They did not work from nothing but used beliefs that already existed in their society and tried to modify and disprove those beliefs. Time and later scientific research proved that they were right. Secondly, even after Galileo was able to prove the structure of the Solar system experimentally, his theory did not become widely accepted until the majority of people in society assimilated it. Therefore, new findings do not become accepted knowledge until they penetrate the fabric of social discourse and until enough people accept them as true.

 CONCLUSIONS

In this chapter, we have learned the definition of rhetoric and the basic differences between several important rhetorical schools. We have also discussed how to key elements of the rhetorical situation: purpose, audience, and context. As you work on the research writing projects presented throughout this book, be sure to revisit this chapter often. Everything that you have read about here and every activity you have completed as you worked through this chapter is applicable to all research writing projects in this book and beyond. Most school writing assignments give you direct instructions about your purpose, intended audience, and rhetorical occasion. Truly proficient and independent writers, however, learn to define their purpose, audiences, and contexts of their writing, on their own. The material in this chapter is designed to enable to become better at those tasks.

When you receive a writing assignment, it is very tempting to see it as just another hoop to jump through and not as a genuine rhetorical situation, an opportunity to influence others with your writing. It is certainly tempting to see yourself writing only for the teacher, without a real purpose and oblivious of the context of your writing.

The material of this chapter as well as the writing projects presented throughout this book are designed to help you think of writing as a persuasive, rhetorical activity. Conducting research and incorporating its results into your paper is a part of this rhetorical process.

SOURCES

Aristotle. “Rhetoric.” Aristotle’s Rhetoric. June 21, 2004. http://www.public.iastate.edu/~honeyl/Rhetoric/. April 21, 2008.

Burke, Kenneth. The Philosophy of Literary Form. Berkeley: University of California Press, 1941.

CNN. “N. Korea Talks On Despite Rhetoric.” CNN.com. August 3, 2003. http://www.cnn.com/2003/WORLD/asiapcf/east/08/03/nkorea.talks/index.html…. April 21, 2008.

Corbett, Edward, P.J and Connors, Robert. Classical Rhetoric for the Modern Student. Oxford University Press, USA; 4 edition, 1998.

Fritz, Ben et al. “About Spinsanity.” Spinsanity. 2001-2005. http://www.spinsanity.org. April 21, 2008.

Papakyriakou/Anagnostou, Ellen. Kairos. Ancient Greek Cities. 1998. http://www.sikyon.com/sicyon/Lysippos/lysip_kairos.jpg. April 21, 2008.

Rouzie, Albert. “The Rhetorical Triangle.” Rhetoric Resources. 1998. http://www-as.phy.ohiou.edu/~rouzie/fall151/rhetriang.gif. April 21, 2008.