Tag Archives: Tortoise Tuesday

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Tortoise Tuesday: Evidence/Analysis in Project Runway

Believe it or not, even unscripted competition shows can be understood through writing lexicon terms!

Project Runway: All Stars is a fashion face-off show where seasoned designers compete in weekly challenges for a grand prize of $100,000. Despite being unscripted, All Stars still successfully develops an argument in each episode regarding who wins and loses each challenge by providing evidence and analysis through the structure of the show. The evidence is presented in the first half of the show, as viewers watch designers go through the process of creating their looks. Through a carefully edited mixture of primary sources—like design sketches, footage of the designers working, and interviews with designers about their looks (excerpted below from episode 10 of season 5; spoiler warning!)—and secondary sources—like workroom advice from their mentor Anne Fulenwider and interviews with designers about their competitors’ looks—the audience is able to see what design choices and fashion contexts direct the analysis provided in the second half of the show. This analysis comes in the form of comments and deliberations from judges, some of which are excerpted below. The judges, who are iconic fashion designers or models themselves, discuss which elements of the designs worked and which did not. Viewers follow the logic of these critiques as they ultimately culminate in the thesis of each episode, that is, whose design was the most successful and whose was the least.

By the end of each challenge, viewers remain either convinced or unconvinced by the evidence and analysis Project Runway: All Stars presents to support each outcome. Regardless of whether they agree or not, viewers still find themselves entertained by the structure of the show’s evidence and analysis, and they inevitably find themselves tuning in week after week to experience it all over again.

— Leina Thurn ’20

News

Tortoise Tuesday: Beyond Just An Awards Show, Motive in Jimmy Kimmel’s Oscars Monologue

An opening monologue for an awards show like the Oscars is not something that we would usually consider argumentative writing in any formal capacity. Often riddled with cheesy jokes and jabs at Academy members, it’s difficult to view these monologues as pieces of writing that employ lexicon terms. While Jimmy Kimmel’s monologue this year did include the usual jabs and jokes, the deluge of allegations concerning sexual assault and misconduct in the film industry in recent months constituted a problem that the Oscars needed to address. In describing the Oscars, Kimmel first acknowledges the fact that historically, it has always been a show known for handing out awards. However, given the controversies of the past few months, he indicates that this ceremony in particular must be different. We can think of these controversies as a motive for the Oscars, a problem to be addressed and grappled with over the course of the show. Further, we can consider Kimmel’s final words as constituting a response to this motive: this year the Oscars weren’t meant to just be an awards show, but “a platform to remind millions of people about important things like equal rights and equal treatment” as a response to the controversies of the past months. In characterizing the Oscars as a platform for social advocacy, Kimmel adds nuance to our perception of award shows and provides an answer to the all-important question: “So what?” Whether or not the viewers believe the Oscars successfully respond to this motive ultimately depends on their analysis of the evidence: the awards, the speeches, the performances, etc.

—Ryan Vinh ’19

Excerpt from The New York Times “O.K., before we start handing out the awards, some history, because we’re going to do things a little bit differently. The first Oscar ceremony lasted, and this is true, 15 minutes, from beginning to end. And people still complained. But — so, if you do win an Oscar tonight, we want you to give a speech. We want you to say whatever you feel needs to be said. Speak from the heart. We want passion. You have an opportunity and a platform to remind millions of people about important things like equal rights and equal treatment. If you want to encourage others to join the amazing students at Parkland at their march on the 24th, do that. If you want to thank a favorite teacher, do that. Or maybe you just want to thank your parents and tell your kids to go to sleep. What you say is entirely up to you. You don’t have to change the world. Do whatever you want. But with that said, this is a really long show. So here’s what we’re going to do. Not saying you shouldn’t give a long speech, but whoever gives the shortest speech tonight will go home with — Johnny, tell them what they’ll win.”

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Tortoise Tuesday: Building Motive in “The American President”

Though mostly regarded as a form of entertainment, movies oftentimes contain powerful examples of rhetoric and quality writing, especially cinematic classics. In “The American President” (1995), Michael Douglas plays President Andrew Shepherd running for reelection against Senator Bob Rumson. Well-structured and well-argued, Shepherd’s speech at the end of the movie features a series of strong motives building off one another that explains why his speech is significant and needs to be presented in that moment. Shepherd begins by addressing Rumson’s attacks on his character head-on, then transitions into discussing the fragility of the state of freedom, both heated issues in the election campaign that Shepherd must immediately handle. He then returns to the question of character by defending his girlfriend’s character, which had been attacked by Rumson. His speech ends with two concrete actions he is prepared to undertake to fix certain problems in the country, concerns brought up in the campaign trail. Throughout his speech, his motive builds and expands, as the audience comes to understand Shepherd’s purpose in delivering the speech: to clear his name from the attacks of his political rival and to prove to the American people that he is the best person for leading the nation.

—Regina Zeng ’18

For the last couple of months, Senator Rumson has suggested that being President of this country was, to a certain extent, about character. And although I’ve not been willing to engage in his attacks on me, I have been here three years and three days, and I can tell you without hesitation: Being President of this country is entirely about character.

For the record, yes, I am a card-carrying member of the ACLU, but the more important question is “Why aren’t you, Bob?” Now this is an organization whose sole purpose is to defend the Bill of Rights, so it naturally begs the question, why would a senator, his party’s most powerful spokesman and a candidate for President, choose to reject upholding the constitution? Now if you can answer that question, folks, then you’re smarter than I am, because I didn’t understand it until a few hours ago.

America isn’t easy. America is advanced citizenship. You’ve gotta want it bad, ’cause it’s gonna put up a fight. It’s gonna say, “You want free speech? Let’s see you acknowledge a man whose words make your blood boil, who’s standing center stage and advocating at the top of his lungs that which you would spend a lifetime opposing at the top of yours.” You want to claim this land as the land of the free? Then the symbol of your country cannot just be a flag. The symbol also has to be one of its citizens exercising his right to burn that flag in protest. Now show me that, defend that, celebrate that in your classrooms.

Then you can stand up and sing about the land of the free.

I’ve known Bob Rumson for years. And I’ve been operating under the assumption that the reason Bob devotes so much time and energy to shouting at the rain was that he simply didn’t get it. Well, I was wrong. Bob’s problem isn’t that he doesn’t get it. Bob’s problem is that he can’t sell it!

We have serious problems to solve, and we need serious people to solve them. And whatever your particular problem is, I promise you Bob Rumson is not the least bit interested in solving it. He is interested in two things, and two things only: making you afraid of it, and telling you who’s to blame for it. That, ladies and gentlemen, is how you win elections. You gather a group of middle age, middle class, middle income voters who remember with longing an easier time, and you talk to them about family, and American values and character, and you wave an old photo of the President’s girlfriend and you scream about patriotism. You tell them she’s to blame for their lot in life. And you go on television and you call her a whore.

Sydney Ellen Wade has done nothing to you, Bob. She has done nothing but put herself through school, represent the interests of public school teachers, and lobby for the safety of our natural resources. You want a character debate, Bob? You better stick with me, ’cause Sydney Ellen Wade is way out of your league.

I’ve loved two women in my life. I lost one to cancer. And I lost the other ’cause I was so busy keeping my job, I forgot to do my job. Well, that ends right now.

Tomorrow morning the White House is sending a bill to Congress for it’s consideration. It’s White House Resolution 455, an energy bill requiring a twenty percent reduction of the emission of fossil fuels over the next ten years. It is by far the most aggressive stride ever taken in the fight to reverse the effects of global warming. The other piece of legislation is the crime bill. As of today, it no longer exists. I’m throwing it out. I’m throwing it out and writing a law that makes sense. You cannot address crime prevention without getting rid of assault weapons and hand guns. I consider them a threat to national security, and I will go door to door if I have to, but I’m gonna convince Americans that I’m right, and I’m gonna get the guns.

We’ve got serious problems, and we need serious people. And if you want to talk about character, Bob, you’d better come at me with more than a burning flag and a membership card. If you want to talk about character and American values, fine. Just tell me where and when, and I’ll show up. This a time for serious people, Bob, and your fifteen minutes are up.”

Andrew Shepard’s Speech From The American President

News

Source Use in Prime Minister Justin Trudeau’s Vimy Ridge Centennial Address

April 9th, 2017 marked the 100th anniversary of the Battle of Vimy Ridge, a turning point for the
Allies during World War I and a defining moment for Canada as a nation. When delivering an
address at the Canadian National Vimy Memorial in France on the day of the anniversary, Prime
Minister Justin Trudeau distinguished himself among other dignitaries by developing a profound
connection with his audience through his primary source use. Recognizing the difficulty that his
audience would have with grasping the true magnitude of statistical figures pertaining to the
Battle, and the inherent power of personal stories to emotionally move individuals, Trudeau
reconstructed the life of a fallen soldier by citing an excerpt from a handwritten letter to build a
rapport with the many attendees. The targeted and concise use of an excerpt whose content is
unrelated to the war and rather mundane in nature serves to facilitate the audience empathizing
with the plight of fallen soldiers and understanding their ultimate sacrifice. In so doing, Trudeau
transcended the temporal barrier between the Canadian citizens in the audience and those
Canadians who fought at Vimy Ridge.

— Nicholas Johnson ’20

Vimy Ridge Centennial Address Excerpt:

Seven thousand and four Canadians were wounded in the battle that began
here, 100 years ago today. Three thousand, five hundred and ninety-eight
Canadians died.
This, from a population, in 1917, of just eight million.
Think of it, for a moment. The enormity of the price they paid.
These were, for the most part, young men in their late teens and early
twenties. Not professional soldiers. But they were superbly trained. And
supported by months of painstaking preparation.
Yet for all that, they still required courage – to a degree that is hard to
fathom.
They weren’t impervious to fear, these men. They were human. Homesick,
tired, footsore and cold.
Yet still, they advanced. Uphill, through mud. Under fire. They advanced,
fighting like lions, moving just behind a devastating allied artillery barrage.
And they did not stop. They did not stop, until they had victory.
There were strategic objectives. Vimy is high ground. It had been
transformed into a fortress.

But if you read the accounts of the men who fought here, you’ll find they
focused on other things.
They wrote to loved ones. They thanked them for parcels and letters. They
asked about brothers and sisters. And they wrote about their fellow soldiers
– those who’d fallen. Those still fighting.
Typical Canadians, they talked about the weather.
“The sun has been shining a couple times this last week,” reads a letter from
William Henry Bell, dated April 7th, 1917. “The sun is a kind of stranger
here. Say, that cake you sent was sure fine.”
William Bell died at Vimy, April 10th, 1917. He was twenty.

–Prime Minister Justin Trudeau

Maclean’s, “The Prime Minister’s Vimy Ridge centennial address: Full Text,”
Maclean’s, April 9, 2017, http://www.macleans.ca/news/canada/prime-
ministers-statement- at-the- vimy-full- text/.

News

Tortoise Tuesday: Sources in The History of the Peloponnesian War

Perhaps the most laborious task of any scholarly endeavor is the research process, whereby one scours libraries, archives, or the Internet to find the sources around which they will craft an argument.  But imagine having to hunt for sources in a world without accessible libraries, archives, or even the Internet.  This is the world in which historian Thucydides of Athens lived nearly 2500 years ago.  In this excerpt from The History of the Peloponnesian War, Thucydides describes how he evaluated, corroborated, and analyzed various primary sources to arrive at his thesis regarding the cause of the war.  He acknowledges the gaps and flaws within his own argument, and he warns his readers about contradictory firsthand accounts.  While his explicit and conscious examination of his sources seems like an obvious step of the research process to scholars today, there was little precedent for this method prior to his time.  Nonetheless, the clarity and thoroughness with which Thucydides discusses the treatment of his sources are impressive, and it is no doubt why his method of source use created a lasting legacy within the discipline of history.

—Leina Thurn ’20

“Of the various speeches made either when war was imminent or in the course of the war itself, it has been hard to reproduce the exact words used either when I heard them myself or when they were reported to me by other sources. My method in this book has been to make each speaker say broadly what I supposed would have been needed on any given occasion, while keeping as closely as I could to the overall intent of what was actually said. In recording the events of the war my principle has been not to rely on casual information or my own suppositions, but to apply the greatest possible rigour in pursuing every detail both of what I saw myself and of what I heard from others. It was laborious research, as eyewitnesses on each occasion would give different accounts of the same event, depending on their individual loyalties or memories.” (I.22)

Citation: Thucydides. The Peloponnesian War. Translated by Martin Hammond, Oxford University Press, 2009.

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Tortoise Tuesday: Thesis in American Historical Scholarship

In this final paragraph of his introduction, historian Alan Taylor masterfully articulates what sets this book apart from other works on the War of 1812. Employing the Gaipa strategy of “dropping out,” Taylor proposes to tell a new story of this forgotten conflict, one which focuses on the hotly contested border region between the United States and Canada. By presenting the war as an ideological showdown between two fraternal peoples rather than an extension of the Napoleonic Wars, he reframes the scholarly conversation. Carefully choosing his key terms: Republican, Loyalist, Empire, and Revolution, Taylor sets the stage for his narrative history while highlighting the more abstract elements of his argument. He also provides us with an endpoint which peaks our curiosity. Having introduced the war as an ideological blood feud, Taylor’s thesis (excerpted below) alerts us to the fact that the conflict’s outcome compelled both sides to find common ground. With the book’s central questions concisely presented, we can dive into the book’s remaining 446 pages eager for answers.

— Ian Iverson ’18

“By telling the story of the borderland war, I seek to illuminate the contrast and the contest between the republic and the empire in the wake of the revolution. Both Republicans and Loyalists suspected that the continent was not big enough for their rival systems; republic and mixed constitution. One or the other would have to prevail in the house divided. Like the revolution, the War of 1812 was a civil war between competing visions of America: one still loyal to the empire and the other defined by its republican revolution against that empire. But neither side would reap what it expected from the war. Frustrated in their fantasies of smashing the other, the Loyalist and the Republican Americans had to learn how to share the continent and to call coexistence victory.”

Alan Taylor, PhD
Professor of History, University of Virginia

Citation: Alan Taylor, The Civil War of 1812: American Citizens, British Subjects, Irish Rebels, & Indian Allies, (New York: Vintage Books, 2010), 12.

News

Tortoise Tuesday: Roadmapping in Tristan

In Gottfried von Strassburg’s medieval German version of the story of Tristan and Isolde, names are important – so important that the meaning of Tristan’s name is a summary of his whole life. Early on, Gottfried explains the name and its significance: the word “triste,” “sad,” which forms part of the name, will be a defining theme in Tristan’s life. In his explanation, Gottfried sketches the outline of his story. This roadmap does more than just tell the reader what’s coming. It also shows why everything that’s going to be included is relevant and introduces a broader theme that will recur throughout the story: the importance of names in general. This passage combines several aspects of a good introduction: it roadmaps, introduces a “key term” of sorts, and sets up expectations for what will follow, all without lengthy summary or extensive analysis that would be better off in the body of the text. The roadmap says what’s going to happen just as a paper’s roadmap indicates what the final thesis will be, but leaves the reader curious as to how Gottfried will arrive at this conclusion.

                                                                                                                  —Rosamond van Wingerden ’20

“Now ‘triste’ stands for sorrow, and because of all these happenings the child was named ‘Tristan’ and christened ‘Tristan’ at once.

His name came from ‘triste.’ The name was well suited to him and in every way appropriate. Let us test it by the story, let us see how full of sorrow it was when his mother was delivered of him, see what a sorrowful life he was given to live, see the sorrowful death that brought his anguish to a close with an end beyond the comparison of all deaths, more bitter than all sorrow. All who have read this tale know that the name accorded with the life: he was the man that his name said he was, and his name of Tristan said what he was.”

— Gottfried von Strassburg, Tristan (tr. A. T. Hatto), pp. 66-7

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Tortoise Tuesday: The New York Times’ Morning Briefing

The New York Times’ Morning Briefing succeeds thanks to its writers’ deft skill with the art of introduction. Moreover, the briefing might be best described as a series of introductions, each leading the reader to one or more articles on a particular topic. Each section does what the best introductions do: presents the reader with a roadmap of the most important points in the overall news story. Furthermore, while the thesis is not always explicitly present in the Briefing section, unifying motives for all the links in each section usually are. They can be found in the titles of each section.

As an example, take one section from the Briefing published on Friday, November 3rd. Its title, “A Contradiction on Russia”, presents a contradiction, an excellent motivating move. From there the author hits on a series of key points that further elaborate on the motive. Within this framework the links embedded within the text of that section, read in the order presented, can be thought of as the body of the work.

The Morning Briefing’s tagline is “what you need to start your day.” Writers may find the same inspiration in the Briefing to discern what a reader needs to start their paper.

— Natalie Collina ’19

A contradiction on Russia.

• President Trump and Attorney General Jeff Sessions have both said that they didn’t know of anybody in the Trump campaign who had been in contact with Russians. Court documents unsealed this week suggest otherwise.

The documents also mentioned Sam Clovis, a former Trump campaign aide who was in the running for a senior position at the Department of Agriculture. On Thursday, he dropped out.

Today, Mr. Trump renewed his request that the Justice Department investigate the Democrats’ activity during the 2016 campaign, saying the American public “deserves it.”

News

Tortoise Tuesday: Orienting in Barack Obama’s 2004 Keynote Address

Before he was President of the United States, Barack Obama was a little-known junior senator from the state of Illinois. The speech that brought him to national attention and propelled the rest of his political career was his inspiring Keynote Address at the 2004 Democratic National Convention. In this speech, he introduced the Democratic Nominee to the 2004 Presidential Election, John Kerry. Before Obama dives into the vision of America that Kerry would offer to its citizens, though, he begins his speech by orienting his audience. He provides background information on his own family and personal history, thereby contextualizing his speech by grounding it in his own experiences. Through doing so, Obama personifies and expounds the definition of the American Dream, which he goes on to expand upon throughout the rest of his speech.

                                                                                                                  —Regina Zeng ’18

“On behalf of the great state of Illinois, crossroads of a nation, land of Lincoln, let me express my deep gratitude for the privilege of addressing this convention. Tonight is a particular honor for me because, let’s face it, my presence on this stage is pretty unlikely. My father was a foreign student, born and raised in a small village in Kenya. He grew up herding goats, went to school in a tin-roof shack. His father, my grandfather, was a cook, a domestic servant.

But my grandfather had larger dreams for his son. Through hard work and perseverance my father got a scholarship to study in a magical place: America, which stood as a beacon of freedom and opportunity to so many who had come before. While studying here, my father met my mother. She was born in a town on the other side of the world, in Kansas. Her father worked on oil rigs and farms through most of the Depression. The day after Pearl Harbor he signed up for duty, joined Patton’s army and marched across Europe. Back home, my grandmother raised their baby and went to work on a bomber assembly line. After the war, they studied on the GI Bill, bought a house through FHA, and moved west in search of opportunity.

And they, too, had big dreams for their daughter, a common dream, born of two continents. My parents shared not only an improbable love; they shared an abiding faith in the possibilities of this nation. They would give me an African name, Barack, or “blessed,” believing that in a tolerant America your name is no barrier to success. They imagined me going to the best schools in the land, even though they weren’t rich, because in a generous America you don’t have to be rich to achieve your potential. They are both passed away now. Yet, I know that, on this night, they look down on me with pride.”

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Tortoise Tuesday: Motive in Hamilton

One thing I’ve come to realize, as a theater certificate student just starting to think about independent work, is that even creative projects have a motive. There has to be a justification for putting on this play, in this place, at this time, and in this unique way. Rarely does the performance itself present the motive so explicitly as does Lin-Manuel Miranda’s blockbuster Broadway musical Hamilton. In “Who Lives, Who Dies, Who Tells Your Story”, Angelica raps about the musical’s eponymous lead: “Every other founding father’s story gets told/Every other founding father gets to grow old.” In one couplet, she justifies the musical biography of Alexander Hamilton, a founding father whose historical life has failed to capture the public’s imagination, despite the enormous political and economic legacy he left behind. In other words, Hamilton just “doesn’t get enough credit for all the credit he gave us.”

                                                                                                                  —Annabel Barry ’19

Lyrics:
MADISON:
He took our country from bankruptcy to prosperity.
I hate to admit it, but he doesn’t get enough credit for all the credit he gave us.
WASHINGTON AND COMPANY:
Who lives
Who dies
Who tells your story?
ANGELICA:
Every other founding father’s story gets told.
Every other founding father gets to grow old.
BURR:
But when you’re gone, who remembers your name?
Who keeps your flame?
CHORUS:
Who tells your story?