keywords:
"to argue"= to present reasons for or against a thing; to dispute; to debate.
"to persuade" = to convince; to induce somebody to believe.
communicative purpose:
- to present, explain, clarify, and illustrate a viewpoint (the author's) (so far, the goals are identical with those of the expository essay) + to persuade the reader that personal views are more valid than another person's viewpoints
move pattern:
Move I: Introducing the issue in contention.
Step 1: introductory remarks to identify work + artist + issue in contention
Step 2: acknowledging counterthesis and counterpoints (the other person's viewpoints)
Step 3: providing specific details (who, what, when, where)
Step 4: stating the thesis (personal viewpoints - in one complete, unified statement about the issue in contention, precise enough to limit the issue, but general enough to ask for support, not too obvious, and showing the changes proposed to the counterthesis)
Move II: Presenting counterthesis and counterpoints
Step 1: Restating the counterthesis and enlarging upon it (in the introductory move, we have just formulated it; now we have to show the reader that we bothered to understand what the other person's thesis really claims; therefore, we use our own words to explain what we understood and to convince our reader that we know exactly what the other opinion is)
Step 2: Presenting/restating counterpoint 1 (using our own words to show what the first point of proof used by the other person was)
Step 3: Presenting/restating counterpoint 2
Step 4: Presenting/restating counterpoint 3
Move III: Arguing thesis and providing evidence/proof
Step 1: Restating our own thesis and enlarging upon it (we have to make sure the reader fully understands what we claim)
Step 2: Providing constructive argument 1 and evidence/proof to support it (the weakest) to fight against counterpoint 1
Step 3: Providing constructive argument 2 and evidence to support it (stronger) to fight against counterpoint 2
Step 4: Providing constructive argument 3 and evidence to support it (the strongest) to fight against counterpoint 3
Step 5: Disagreeing with counterpoint 1 (refutation 1)
Step 6: Disagreeing with counterpoint 2 (refutation2)
Step 7: Disagreeing with counterpoint 3 (refutation 3)
Note: We can place side by side (mirror) our constructive argument and our disagreement with the other person's counterpoint in the same step by convincing the reader that our argument and evidence to support it are correct and are better than the other's.
Tasks:
DEADLINE March 17
"to argue"= to present reasons for or against a thing; to dispute; to debate.
"to persuade" = to convince; to induce somebody to believe.
communicative purpose:
- to present, explain, clarify, and illustrate a viewpoint (the author's) (so far, the goals are identical with those of the expository essay) + to persuade the reader that personal views are more valid than another person's viewpoints
move pattern:
Move I: Introducing the issue in contention.
Step 1: introductory remarks to identify work + artist + issue in contention
Step 2: acknowledging counterthesis and counterpoints (the other person's viewpoints)
Step 3: providing specific details (who, what, when, where)
Step 4: stating the thesis (personal viewpoints - in one complete, unified statement about the issue in contention, precise enough to limit the issue, but general enough to ask for support, not too obvious, and showing the changes proposed to the counterthesis)
Move II: Presenting counterthesis and counterpoints
Step 1: Restating the counterthesis and enlarging upon it (in the introductory move, we have just formulated it; now we have to show the reader that we bothered to understand what the other person's thesis really claims; therefore, we use our own words to explain what we understood and to convince our reader that we know exactly what the other opinion is)
Step 2: Presenting/restating counterpoint 1 (using our own words to show what the first point of proof used by the other person was)
Step 3: Presenting/restating counterpoint 2
Step 4: Presenting/restating counterpoint 3
Move III: Arguing thesis and providing evidence/proof
Step 1: Restating our own thesis and enlarging upon it (we have to make sure the reader fully understands what we claim)
Step 2: Providing constructive argument 1 and evidence/proof to support it (the weakest) to fight against counterpoint 1
Step 3: Providing constructive argument 2 and evidence to support it (stronger) to fight against counterpoint 2
Step 4: Providing constructive argument 3 and evidence to support it (the strongest) to fight against counterpoint 3
Step 5: Disagreeing with counterpoint 1 (refutation 1)
Step 6: Disagreeing with counterpoint 2 (refutation2)
Step 7: Disagreeing with counterpoint 3 (refutation 3)
Note: We can place side by side (mirror) our constructive argument and our disagreement with the other person's counterpoint in the same step by convincing the reader that our argument and evidence to support it are correct and are better than the other's.
Move IV: Concluding by enhancing the validity of the thesis
We conclude by reminding our reader (in other words) what we claimed and by suggesting that our arguments were (far) more convincing than the other person's. We must always remember to be polite! We must always remember that our simple claim of truth (our truth) is not convincing without providing proper arguments and evidence. After all, it is the reader who decides who is more effective!
Move V: (optional) Works cited.
Task 1: Read the text Fashion Art: To BE or Not to Be, by Maria Hritcu. Pay attention to the thesis, to the counterpoints and constructive arguments; which of them convinces you most? Which side do you tend to take? Why? Express your own viewpoints on these matters (provide your own thesis, arguments, and evidence).
DEADLINE March 17
Cordos Vlad Nicolae, Graphics, 2nd year
ReplyDeletePersonally, I lean towards the perspective that fashion can indeed be considered art. My thesis would be that fashion transcends utility and commercialism to embody creative expression and cultural significance, thus deserving recognition as a legitimate art form.
One argument in favor of this thesis is the undeniable creativity and innovation found within the fashion industry. Designers continually push boundaries, experiment with materials, and draw inspiration from various sources to create emotional responses and challenge conventional aesthetics.
Furthermore, the cultural impact of fashion cannot be overlooked. Fashion trends often reflect broader societal shifts, serving as a reflection of political, social, and economic dynamics. Clothing can be a powerful medium for storytelling and social commentary.
While it's true that fashion operates within a commercial framework, this does not necessarily diminish its artistic value. Many artists throughout history have navigated the tension between commercial viability and artistic integrity, and fashion designers are no exception. The ability to balance creativity with commercial success is itself a form of artistry, requiring innovation, vision, and strategic thinking.
In conclusion, while the debate over whether fashion qualifies as art may continue, the evidence suggests that fashion possesses many qualities traditionally associated with art. By recognizing the creativity, cultural significance, and expressive potential of fashion, we can appreciate it as a dynamic and multifaceted art form deserving of critical consideration and respect.
Sestras Diana Larisa, grafica, anul 2
ReplyDeleteThe text Fashion Art: To BE or Not to Be, by Maria Hritcu, presents a debate on the role of fashion art in society. The thesis of the text is that fashion art should be considered as an art form in its own right, rather than simply as a means to promote fashion products. The author argues that fashion art can have a significant impact on society, and that it should be treated as an equal and valid form of art.
The counterpoints and constructive arguments presented in the text include:
The argument that fashion art is not an art form in its own right, but rather a means to promote fashion products. The author argues that fashion art should not be considered as an art form in its own right, but rather as a tool to promote fashion products and brands. This argument suggests that fashion art is not as important or valuable as other forms of art, and that it should not be treated as an equal and valid form of art.
The argument that fashion art can have a significant impact on society, and that it should be treated as an equal and valid form of art. The author argues that fashion art can have a significant impact on society, and that it should be treated as an equal and valid form of art. This argument suggests that fashion art is as important and valuable as other forms of art, and that it should be treated with the same respect and appreciation.
The argument that fashion art can be a powerful tool for social change and commentary. The author argues that fashion art can be used as a powerful tool for social change and commentary, and that it should be treated as an equal and valid form of art. This argument suggests that fashion art can have a significant impact on society, and that it should be treated with the same respect and appreciation as other forms of art.
The argument that fashion art can be a powerful tool for social change and commentary. The author argues that fashion art can be used as a powerful tool for social change and commentary, and that it should be treated as an equal and valid form of art. This argument suggests that fashion art can have a significant impact on society, and that it should be treated with the same respect and appreciation as other forms of art.
The argument that fashion art can be a powerful tool for social change and commentary. The author argues that fashion art can be used as a powerful tool for social change and commentary, and that it should be treated as an equal and valid form of art. This argument suggests that fashion art can have a significant impact on society, and that it should be treated with the same respect and appreciation as other forms of art.
In conclusion, the author of the text Fashion Art: To BE or Not to Be, Maria Hritcu, argues that fashion art should be considered as an art form in its own right, rather than simply as a means to promote fashion products. She presents several arguments in favor of this thesis, including the idea that fashion art can have a significant impact on society, and that it should be treated as an equal and valid form of art. The author also presents counterpoints and constructive arguments against her thesis, including the idea that fashion art is not an art form in its own right, but rather a means to promote fashion products. However, the author's arguments in favor of treating fashion art as an equal and valid form of art are more convincing, and they suggest that fashion art can have a significant impact on society, and that it should be treated with the same respect and appreciation as other forms of art.
Major Dávid József , an 2 ,grafică
ReplyDeleteAfter reading Fashion Art: To be or not to be, by Maria Hritcu, I find myself aligning more with the argument in favor of fashion as an art form. The author presents a compelling thesis that fashion, like other forms of art, can be a means of expression and communication, reflecting cultural, social, and political contexts.
Hritcu's constructive arguments highlight the creativity, innovation, and skill involved in fashion design, as well as its ability to challenge societal norms and provoke thought. These points resonate with me, as I believe that art should not be confined to traditional mediums and that fashion has the power to make significant cultural statements.
The counterpoints, while valid, do not sway my position. The argument that fashion is primarily functional and commercial does not negate its artistic value, as many art forms serve practical purposes or are created within commercial contexts. Additionally, the idea that fashion is transient and disposable does not diminish its artistic merit, as other art forms, such as performance art, can also be ephemeral.
In conclusion, I side with Maria Hritcu's view that fashion is indeed an art form, capable of expressing ideas, challenging norms, and contributing to cultural discourse. The creativity, innovation, and skill involved in fashion design, as well as its ability to reflect and influence society, make it a valuable and legitimate form of artistic expression.
Pap Andrada Foto-Video III
ReplyDeleteFashion Art: To BE or Not to Be: An Argumentative Response
Fashion has long been a subject of contention, often straddling the line between art and commerce. Maria Hritcu's text, "Fashion Art: To BE or Not to Be," delves into this debate, presenting various perspectives on whether fashion qualifies as art. In responding to Hritcu's arguments, I find myself compelled to engage with the discourse, drawing upon both her points and my own insights to shape a nuanced viewpoint.
Hritcu introduces the issue by highlighting the ambiguity surrounding fashion's classification as art. While some argue vehemently for its artistic merit, others remain skeptical, viewing it primarily as a commercial endeavor. Acknowledging these differing viewpoints is crucial in fostering a comprehensive discussion.
The author's thesis asserts that fashion can indeed be considered art, as it embodies creativity, emotion, and expression akin to traditional art forms. However, she also acknowledges counterpoints, such as the transient nature of fashion and its commercialization, which challenge its artistic integrity.
In presenting her arguments, Hritcu articulates the transformative power of fashion, citing examples of iconic designers whose work transcends mere clothing to evoke profound aesthetic experiences. She emphasizes the craftsmanship and innovation inherent in fashion design, aligning it with the principles of traditional art forms.
Yet, I find myself drawn to the counterpoints raised by Hritcu. The ephemeral nature of fashion raises questions about its longevity and cultural significance compared to other art forms with enduring legacies. Additionally, the pervasive influence of commercial interests within the fashion industry complicates its status as