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By Jack R. Lundbom

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Arnold, “Rhetoric in America since 1900,” 7. Spread 3 points long Rhetorical Criticism xxxiii University scholars doing rhetorical criticism of the broad variety have understood their work as being methodological in nature, 55 although some insist that method ought to be pluralistic. 56 It would seem that method is as appropriate to the study of rhetoric as to the study of any other humanistic discipline. The term is not wholly owned by the sciences. If Muilenburg’s rhetorical criticism assumes for “method” an interpretation too loose to be meaningful, then some controls must be put into place that will either objectify insights credited to a critic’s acute sensitivity or else show the same to be invalid, and if not invalid, at least unlikely.

Montague, “Rhetoric in Literary Criticism,” 169. Page is 12 points short Rhetorical Criticism xliii with the similar-sounding horeb (‘drought’). Amos, as has already been noted, did precisely the same sort of thing. ” 80 Once discourse units are delimited, arguments are seen to go quite consistently from the ironic to the straightforward, the ˜gurative to the literal, the general to the speci˜c, and the abstract to the concrete. In the oracles and other utterances, Jeremiah moves in the direction of lowering the level of abstraction, which means the encounter with his audience is most immediate at the end.

68 And scholars following Gunkel have made the modern evidence even more impressive. 69 Content analysis provided other clues for genre classi˜cation. Gunkel’s Einleitung in die Psalmen 70 classi˜es hymns in a way similar to what we ˜nd in our modern hymnbooks. Here content is quite clearly the main criterion for all Gunkel’s genres and sub-genres. One cannot quarrel about basic categories (songs of praise, songs of thanksgiving, individual and communal laments), but neither can one con˜rm (or refute) the existence of all the sub-genres, if in fact they are sub-genres.

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