clarkchronicles

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Post Six: Cicero’s Topica and Argumentative Fallacies

Apple's advertising campaign for the iPhone is a great example of how the Bandwagon effect works in modern advertising. The ad doesn’t focus on technical features or why the iPhone is objectively better than other phones. Instead, it shows happy, attractive people using iPhones in social settings, creating an implicit message that if you want to be part of the in crowd, you need to own an iPhone too.

This approach taps into the psychological tendency we have to follow the group, which is especially powerful when the product or lifestyle being sold is framed as a symbol of status or success. Apple’s ads suggest that owning an iPhone is more than just about the phone itself, rather it’s about belonging to a certain group or identity. It’s as if the ad is saying, “Everyone who’s anyone has one,” implying that if you don’t have an iPhone, you’re missing out on a key part of modern life.

According to Craig R. Smith in Rhetoric and Human Consciousness: A History, fallacies such as the Bandwagon effect can have significant implications within rhetorical situations, particularly when the audience is emotionally invested in the product or ideology being promoted. The Bandwagon fallacy appeals to the emotional side of decision-making by suggesting that iPhone ownership is not just a choice, but a reflection of status, belonging, and cultural alignment. The message is simple: "Everyone has it, so you should too." This pressure to conform not only affects consumer behavior but also shapes how individuals perceive their self-worth in relation to the group.

While this may not be a logical argument, it’s a powerful marketing strategy. It taps into our desire for social belonging and the fear of missing out, both of which can cloud our ability to make decisions based on facts and personal needs. By framing the iPhone as a tool for social inclusion, Apple subtly encourages people to buy into the product simply because they don’t want to be left out.

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The Sublime in BTS’s "ON"

The Roman theory of the sublime describes a style capable of overwhelming audiences with grandeur, intensity, and emotional power (Smith, p. 133). BTS’s “ON” exemplifies this concept through both its musical performance and visual presentation. The "Kinetic Manifesto Film: Come Prima" rejects the typical polished aesthetics of K-pop music videos to focus on raw strength. Set against the stark backdrop of the Sepulveda Dam, BTS, accompanied by dancers and a marching band, transforms their personal struggles into an inspiring collective message.

Sonja Foss explains that the sublime evokes awe by transcending normal understanding and delivering extraordinary experiences (Rhetorical Criticism, 5th ed., p. 123). In “ON,” BTS references Jungian psychoanalysis, particularly the “shadow” concept, as they face their internal struggles with fame, fear, and identity. They confront these dark sides of themselves directly, turning them into sources of power rather than shame. RM’s line, "Even if I fall, I rise again," embodies the Roman ideal of the sublime: rising above the ordinary. It reflects the idea that facing pain and hardship is not about surrender, but about using it as fuel to continue creating and evolving.

The intensity of BTS’s performance mirrors the Roman understanding of the sublime as grandeur interwoven with terror (Smith, p. 134). The choreography and lyrics in “ON” illustrate not just victory, but also the terrifying cost of ambition. In their anthemic chorus, “Can’t hold me down ‘cause you know I’m a fighter,” BTS transforms personal vulnerability into an epic declaration of resilience. This line, in particular, illustrates their refusal to be held back by their fears and struggles.The use of a full dance crew and the Blue Devils marching band, paired with the stripped-down set, elevates this performance into a physical manifestation of transcendence, which the audience can feel through the screen.

Rather than hiding their shadows, BTS embraces them, embodying the Roman concept that sublimity does not come from perfection, but from emotional intensity. The grandeur of “ON”, with its sweeping visuals, relentless beat, and lyrical confrontation of fear, fulfills the Roman sublime’s purpose: to move audiences beyond rational thought and into a visceral experience of beauty, terror, and triumph. The different musical, dance, and set choices intensifies this effect, making the audience feel the sublimity not just through visuals and sound, but through a palpable, almost tangible physicality that amplifies the sense of transcendence.

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The Lure of Letting Go: A Fantasy-Theme Critique of Hozier’s Too Sweet

In Rhetorical Criticism: Exploration and Practice, Sonja Foss describes fantasy-theme criticism as a way to uncover the “dramatized view of reality” that rhetorical artifacts offer through shared symbolic worlds (Foss, p. 97). Hozier’s “Too Sweet” builds exactly such a world — one where surrendering to pleasure and passivity becomes a quiet form of rebellion against the busy capitalistic backdrop.

Applying Foss’s model, I analyzed the characters, setting, and actions within “Too Sweet” to discover the fantasy it creates. The character of the speaker defines himself in opposition to societal expectations. He rejects waking early, healthy habits, and polished appearances. His partner, in contrast, represents the “too sweet” world; they are clean, responsible, and suffocating.

The setting Hozier conjures is dim and languid, filled with soft ambiance, silence, and a longing for separation from the hustle of daytime life. It’s not glamorous escapism but a quieter space where stillness is celebrated over achievement.

The action unfolds through disengagement: sleeping through the morning, indulging in drink, seeking darkness. These choices aren’t failures but affirmations of the speaker’s autonomy. He chooses his own pace, even if that pace verges on self-destruction.

Together, these themes form a rhetorical vision (Foss, p. 100) that is emotionally resonant for anyone exhausted by capitalist societies’ pressures. Hozier offers a fantasy where retreat is not shameful but almost sacred. Like many fantasy themes Foss discusses, “Too Sweet” reflects a yearning for a world different from the one listeners inhabit — slower, softer, and just a little bit rotten.

Through fantasy-theme criticism, “Too Sweet” reveals not just a song, but a shared vision of bittersweet pushback.

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🎧 Feminist Critique: Beyoncé’s “If I Were a Boy”

Beyoncé’s “If I Were a Boy” isn’t just a sad breakup ballad—it’s a full-on feminist mic drop. Using the reversal of gender roles as its rhetorical engine, the song critiques emotional inequality in relationships and asks: Why is male emotional detachment so accepted—and female pain so ignored?

Applying Sonja Foss’s feminist rhetorical approach, we can unpack how this song doesn’t just tell a story—it exposes a system.

🧠 Step 1: Gender According to the Artifact

From the first verse, we’re immersed in a world where being a man means freedom from emotional responsibility. Beyoncé imagines herself in a man’s shoes and walks us through what that freedom feels like: skipping phone calls, taking partners for granted, never having to explain.

“If I were a boy / I think I could understand / How it feels to love a girl…”

This isn’t just hypothetical—it’s a direct callout. The song implies that emotional neglect isn’t accidental, it’s structural. The male character is allowed to disengage. The woman, meanwhile, is left to feel, forgive, and wait.

🔍 Step 2: What That Gender Story Means

Here’s the sting: Beyoncé isn’t asking for sympathy—she’s making us see how normalized this imbalance is. The reversal doesn’t just flip roles; it forces listeners to confront the everyday emotional labor women do in silence.

And that labor? It’s invisible, until it isn’t.

The line “But you’re just a boy” hits like a closing argument. It’s not about the individual man—it’s about a system that raises boys to believe emotional availability is optional. And women? They’re expected to pick up the slack and never call it work.

⚖️ Step 3: Feminist Ideology in Action

In feminist rhetorical terms, the song rejects the patriarchal narrative that men are naturally distant and women are naturally nurturing. Instead, it shows that these roles are socially constructed—and deeply unfair.

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💘 A Cluster Critique Of Tinder’s “It Starts With a Swipe” Campaign

Tinder’s “It Starts With a Swipe” campaign isn’t just selling an app but rather selling a worldview. In lieu of being marked as an app for hookups Tinder seeks to rebrand as rather being an app for endless possibilities. With careful visuals, taglines, and tone, the campaign builds its own definition of what love and connection mean in today’s culture. Let’s break it down.

🧠 Step 1: Key Terms

A few key terms dominate the campaign:

“Swipe” (no surprise)

“Start”

“You”

“Connection”

These are Tinder’s “god terms”—the idealized, aspirational symbols the brand wants us to associate with their product. But just as important as these are the oppositional “devil terms”:

“Labels”

“Expectations”

“Dating norms”

Tinder doesn’t always say these overtly, but visually and contextually, they’re pushed out of frame—painted as outdated, confining, or uncool.

🔍 Step 2: Clusters Around the Terms

Around “swipe” are clusters like “freedom,” “exploration,” “fun,” “openness,” and “possibility.” A swipe isn’t just a gesture—it’s a symbol of agency and curiosity.

“You” is the emotional core of the campaign. The ads emphasize your story, your type of love, your pace. Clusters include “authenticity,” “choice,” and “no rules.”

“Start” is framed with phrases like “it could be anything,” “see where it goes,” and “your moment.” It’s less about endings or goals, more about being in the now.

Meanwhile, the rejection of old dating narratives shows up in clusters like:

“No pressure”

“No labels”

“Not your parents’ romance” This flips traditional dating scripts on their head. Commitment isn’t the endpoint—exploration is.

🎯 Step 3: Conclusions

Tinder’s rhetorical strategy clusters freedom, individuality, and playful potential around a simple act: swiping. It’s not just about finding “the one”—it’s about choosing your own path. The campaign aligns modern identity (fluid, self-directed, diverse) with Tinder’s product, while subtly framing traditional expectations as incompatible with this new dating ethos.

So yes, it starts with a swipe—but the clusters tell us it continues with self-discovery, experimentation, and empowerment.

[clarkchronicles]

Analyzing the blog: Architecture of Zelda

The Architecture of Zelda is an excellent blog for fans of the Legend of Zelda franchise (myself included). By combining analysis with visual aids like screenshots, concept art, and maps, the blog explores the architectural and environmental design of the games. The author doesn’t just present theories about temples but builds a strong ethos appeal, emphasizing how different spaces evoke emotions through their atmosphere and mood.

In Bitzer’s framework, constraints refer to factors that shape or limit a rhetorical situation. In The Architecture of Zelda, visual elements—such as screenshots, maps, and official artwork—are essential in illustrating the architectural and environmental themes that are being discussed and analyzed. These images help convey spatial relationships, the in-game lore, and the emotional impact of various in-game structures. ​​However, they also introduce several constraints that affect how the blog communicates its analysis.

 The blog’s rhetoric constraint is the challenge of trying to interpret a visual space. The blog assumes a level of familiarity with Zelda’s worlds. Screenshots provide context, but alone might not be persuasive enough to an audience that is unfamiliar with the lore or visual motifs of the game. A player’s experience that has dynamic, explorable spaces with lighting changes and interactive elements based on the player's movement cannot be fully captured in a screenshot. To discuss the meaning and beauty of the architecture like the blog seeks to, the images must be paired with detailed description to try to help bridge the gap between the still imagery available in the blog and the live gameplay experience.

Despite these constraints, the blog skillfully uses visual elements to reinforce its arguments. By curating images that emphasize architectural patterns, spatial storytelling, and symbolic design, The Architecture of Zelda effectively overcomes its rhetorical limitations, transforming static images into meaningful insights about world-building in The Legend of Zelda series.

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Beginner's Definition of Rhetoric

Rhetoric: The choices and common vocabulary of a particular community when interacting with one another.

As someone who hasn't studied or learned much about rhetorical situations this is what came to mind.