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  1. On the Norms of Visual Argument: A Case for Normative Non-revisionism.David Godden - 2017 - Argumentation 31 (2):395-431.
    Visual arguments can seem to require unique, autonomous evaluative norms, since their content seems irreducible to, and incommensurable with, that of verbal arguments. Yet, assertions of the ineffability of the visual, or of visual-verbal incommensurability, seem to preclude counting putatively irreducible visual content as functioning argumentatively. By distinguishing two notions of content, informational and argumentative, I contend that arguments differing in informational content can have equivalent argumentative content, allowing the same argumentative norms to be rightly applied in their evaluation.
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  • Evidentiary Convincing and Evidentiary Fallacies.Eugen Octav Popa & Alexandru I. Cârlan - 2024 - Argumentation 38 (3):349-367.
    A convincing argument can change a discussant’s commitment regarding the acceptability of a claim, but the same effect can be achieved by examining evidence. Observing objects or events that count as evidence for or against the acceptability of a statement can change one’s commitment regarding that statement. If we speak of fallacies in the realm of convincing through argumentation, can we speak of fallacies in the realm of convincing through evidence? In this paper, we defend an affirmative answer. We introduce (...)
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  • The Study of Visual and Multimodal Argumentation.Jens E. Kjeldsen - 2015 - Argumentation 29 (2):115-132.
    IntroductionIf we were to identify the beginning of the study of visual argumentation, we would have to choose 1996 as the starting point. This was the year that Leo Groarke published “Logic, art and argument” in Informal logic, and it was the year that he and David Birdsell co-edited a special double issue of Argumentation and Advocacy on visual argumentation . Among other papers, the issue included Anthony Blair’s “The possibility and actuality of visual arguments”. It was also the year (...)
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  • Images as Arguments: Progress and Problems, a Brief Commentary.David Godden - 2015 - Argumentation 29 (2):235-238.
    This brief editorial considers a special issue of Argumentation edited by Jens Kjeldsen on visual, multimodal argumentation. It provides a commentary on important advances on interpretative problems such as the propositionality of argument, the reducibility of images to words, whether argument products are primarily cognitive artifacts, and the nature of a modality of argument. Concerning the project of argument appraisal, it considers whether visual arguments call for a revision of our normative, evaluative apparatus.
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  • What makes writing academic.Julia Molinari - 2019 - Dissertation, University of Nottingham
    This thesis contextualises academic writing in EAP (English for Academic Purposes) and subjects it to an interdisciplinary (educational and philosophical) analysis in order to argue that what makes writing academic are its socio-academic practices and values, not its conventional forms. In rejecting dominant discourses that frame academic writing as a transferable skill which can be reduced to conventional forms, I show that academic writings are varied and evolve alongside changing writer agencies and textual environments. This accounts for the emergence of (...)
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  • Visual and Verbal color: chaos or cognitive and cultural fugue? ‎.Mony Almalech - 2019 - In Evangelos Kourdis, Maria Papadopoulou & Loukia Kostopoulou (eds.), The Fugue of the Five Senses and the Semiotics of the Shifting Sensorium: Selected ‎Proceedings from the 11th International Conference of the Hellenic Semiotics Society.
    Fugue and chaos are used in their contemporary meaning. Elements of the fugue, albeit a ‎small number of universals, will be demonstrated in the area of visual and verbal colors. ‎Chaos dominates the internet, fashion, and everyday life. The visual and verbal colors are ‎differentiated and their communicative potential is indicated alongside the diachronic changes. The prototypes of colors are the interface between visual and verbal colors.‎.
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