Deutsche Pressegeschichte: Von den Anfängen bis zur Gegenwart
Deutsche Pressegeschichte: Von den Anfängen bis zur Gegenwart
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德国新闻史：Von den Anfängen bis zur Gegenwart
DOI：
10.1080/00335630600938609
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发表时间：
2014
影响因子：
1.1
通讯作者：
Rudolf Stöber
中科院分区：
文献类型：
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作者：
Rudolf Stöber
修辞学批评情节剧倾向于简化和具体化公共争议，并将喜剧框架视为一种道德上优越的修辞模式。这些判断根植于该学科对伯克分类的依赖，情节剧的还原主义概念，以及社会统一应该是修辞学目的的隐含假设。作为回应，本文提出了情节剧作为一套完整的修辞诉求的概念。它使用环境修辞的例子来说明情节剧的发明资源如何改变公众争议，并反对将对地球生命质量和生存的威胁合理化或模糊化的主导话语。基于这些论点，本文赞同一种诡辩的批评观点，即将时效性作为修辞判断的主要依据，并拒绝将任何修辞框架视为内在优越。
Rhetorical scholarship criticizes melodrama for its tendency to simplify and reify public controversies and valorizes the comic frame as an ethically superior mode of rhetoric. These judgments are rooted in the discipline's reliance on Burkean categories, a reductionist conception of melodrama, and an implicit assumption that social unification should be the telos of rhetoric. In response, this essay advances a concept of melodrama as an integrated set of rhetorical appeals. It uses examples of environmental rhetoric to illustrate how the inventional resources of melodrama can transform public controversies and oppose dominant discourses that rationalize or obscure threats to the quality and existence of life on Earth. Based on these arguments, the essay endorses a sophistic critical perspective that foregrounds timeliness as the primary ground for rhetorical judgment and refuses to treat any rhetorical frame as inherently superior to another.