Follow instruction listed below . This is a Rhetorical Analysis Essay that need to be based off of the article listed below

Rhetorical Analysis of a Written Argument: Grading Rubric

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ENC 1102 Rhetorical Analysis

The purpose of this essay is to give you the opportunity to demonstrate your understanding of the basic components of argument: claim/thesis, evidence/support, structure, rhetorical strategies, appeals, and situation. First, you study and critically read a textual argument–written or visual. Second, you will evaluate how effective the argument is. Third, you will present your critical analysis of how the author conveys and develops his or her argument.

Characteristics of a Rhetorical Analysis

A successful rhetorical analysis will do the following:

· Accurately describe the text’s argument and main claim to provide context (i.e. determine rhetorical situation).

· Assert a clear and specific claim (one’s evaluation of the text’s effectiveness) early in the essay—usually the last sentence of the introduction.

· Consider both the text’s strengths and its weaknesses.

· Effectively deploy rhetorical vocabulary (ethos, pathos, logos) and knowledge into the analysis.

· Provide specific examples of rhetorical strategies and explanation of HOW they work, giving careful consideration to the intended audience.

· Effectively integrate quotations and concrete evidence from the text to support claims.

· Reinforce the claim and assert the significance of the analysis in the conclusion.

Essay Requirements

· The paper must be 1000-1500 words in length; information on the Works Cited page does not count toward this total.

· The final draft of this paper must be submitted to Turnitin.

·

MLA format for presentation and for source documentation (in-text citations and Works Cited Page)

Ways of Organizing a Rhetorical Analysis

A possible outline:

Introduction (at least one paragraph)

· Create a lead-in “hook” to engage your readers’ interest (e.g., a striking quotation or statistic, an anecdote or scenario, a related current event).

· Introduce and describe the text and its rhetorical context.

· Present your thesis statement—your evaluative claim about the text’s effectiveness and use of rhetorical strategies.

Body (at least three paragraphs)

· Support your thesis by providing interpretation, analysis, and evaluation of the rhetorical strategies, making sure to support your analysis with concrete evidence from the text (i.e. paraphrase and quotations)

· Use an effective structure that guides the reader from one idea to the next (paying attention to transitions both between paragraphs and within)

Conclusion (at least one paragraph)

· Restate your position/thesis – use different words.

· Explain what your analysis reveals about the text (i.e. why your analysis is important; what it teaches us about the text’s rhetoric)

Revised 8/2016

Body Modification Is a Sign of Cultural
Depravity
Self-Mutilation, 2008
From Opposing Viewpoints in Context

“Body mutilation is the decoration of choice for an age which has turned violence into
a modish cult.”

In the following viewpoint, British columnist and author Melanie Phillips decries the trendiness
of body modifications such as tattooing, piercing, and cosmetic surgery. She equates these
fashion statements with self-mutilation and sees their popularity as a sign of a morally corrupt,
shallow, and spiritually empty culture. Moreover, she asserts, body modification reflects low
self-esteem and a hatred of the body rooted in a desire to evade reality.

As you read, consider the following questions:

What do Botox injections do, according to Phillips?1.

In what ways do tattoos expose a “hollowness of character,” according to the author?2.

What is self-mutilation an outward sign of, in Phillips’ opinion?3.

There was a time when sentimentality meant wearing your heart on your sleeve. Now it’s more likely to
be carved into the nape of your neck.

[English professional footballer] David Beckham has revealed a startling tattoo below his hair line
depicting a green cross with wings extending almost from ear to ear. This enigmatic example of neck
art has occasioned wonderment and disgust in equal measure.

At the same time, the quiz show host Anne Robinson has come clean about her recent face-lift, which
she had done because she didn’t want a ‘face like a road map’. Now, there’s nothing like the boast of
yet another celebrity about having her face lifted to cause the faces of everyone else to fall. But surely,
something more than mere vanity is at work here.

A Fortune on Blemishes?

After all, isn’t it somewhat strange that while people like Anne Robinson spend a fortune having
blemishes removed from their physiognomy, people like David Beckham are busy putting fresh ones
indelibly on?

The Beckham winged cross has hardly enhanced its owner’s natural beauty. It is, in short, thuggish

and repellent. It is also very large, permanent and, since it is so visible on the back of his neck, in your
face (so to speak). Even the tattooist expressed concern about using such a prominent location.

So what does its appearance mean? Amateur psychologists speculate it is some kind of tough-guy

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statement to counter the recent torrid allegations about the state of his marriage.

But this is the ninth tattoo to adorn the Beckham torso. Others sport his wife’s name spelled out in
Hindi, his son’s name in inch-high Gothic lettering, his iconic shirt number 7, and a Michelangelo angel
on his right arm.

Designer Wounds

This goes beyond one silly footballer dreaming up new ways to make himelf the centre of attention.
For what was once the adornment of choice for sailors or skinheads has now become high
fashion—particularly for women, who sport tattoos on their shoulders or in more discreet places.

Such tattoos are considered sexy. But however feminine the design, they display the innate ugliness
of any disfigurement. They are not so much body art as designer wounds.

They are akin to the other fashion for using skin as decoration through body piercing. So people sport

studs in tongues, diamonds through navels, and barbells, spikes and rings hung with bells and
whistles.

Cosmetic surgery, too, is a bodily assault course. Botox injections to smooth out wrinkles employ a
poison which, if used long enough, makes the facial muscles atrophy from lack of use. In addition to
having their thighs and stomachs sucked out and their breasts pumped up, women are even having
their toes shortened so their feet can fit into fashionable shoes. And they queue for collagen injections
to plump up their lips, which instead of turning them into sex kittens make them resemble instead the
inhabitants of a goldfish bowl.

This Cinderella illusion seems to have turned the beauty salon into a makeover of the macabre
straight out of a horror film. Anne Robinson describes a previous treatment she underwent called ‘face
lasering’, by inviting us to ‘imagine the M40 and several layers of tired, worn Tarmac being removed’.
For heaven’s sake, this was her face, not a three-lane motorway!

Self-Mutilation as Fashion

So what lies behind this bizarre fashion for self-mutilation? Above all, tattooing and body-piercing turn
the anti-social into a fashion statement. In these morally topsy-turvy times, it has become the fashion
to celebrate or ape the degraded elements of our culture. Hence the foul language, binge drinking,
drug taking and sexual debauchery.

Tattooing was always considered to be associated with thuggery, and indeed many men in prison are
tattooed. Now, however, as our society slides deeper into the moral mire we have thug chic—or in the
case of tattooed women, thug chicks.

By appropriating a symbol of male savagery and feminising it, tattooed women in particular signal a

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potent breach of a taboo and therefore—to those turned on by such things—a promise that female
decorum is merely a veneer concealing a more primitive instinct.

This is all part of a culture which has made a fetish of challenging the very notion of what is
disapproved of or even forbidden. There was a time when the deliberate infliction of harm on oneself
or on others was illegal. Extreme notions of freedom of choice, however, then turned the infliction of
suffering into a right, provided it was ‘consensual’.

So what was once considered grievous bodily harm has now become the last word in cool. Body
mutilation is the decoration of choice for an age which has turned violence into a modish cult, from
sadomasochism clubs to the film Fight Club and real-life staged battles between rival gangs of football
hooligans.

Hollowness of Character

Tattoos expose a terrible hollowness of character. Their owners appear to believe that displaying
feelings makes them real. But in a society where actual feelings are becoming increasingly shallow,
committed and faithful relationships are disappearing and emotion is giving way to sentimentality, so it
is becoming more important to announce that your emotions are permanent, if only in ink.

Tattoos also reflect a distressing inarticulacy and sense of personal insignificance. Those who wear
them think they help them stand out as individuals. In fact, since they reduce individuality to crude
slogans or cartoon images, they simply point up the owner’s fragile sense of identity.

Above all, tattooing, body piercing and cosmetic surgery all reflect rock-bottom self-esteem. All these
procedures mean treating the body with contempt and even hatred in an attempt to deny or evade
painful realities.

Face-lifts and other cosmetic surgery are designed to conceal what women have actually become
through the effects of aging. They carve out a lie, a fantasy of perfection. They erase experience of life

and produce faces which therefore look disturbingly blank and more than a little spooky.

If such surgery denies the progress of the human body, tattoing surely symbolises a denial of the
progress of society. For tattooing belongs to ancient cultures where it expressed superstitions,
appeased primitive gods or denoted social status.

An Age of Spiritual Emptiness

Beckham thinks his angel tattoos give protection to his wife and children. Such a retreat to primitive
ideas fits with the prevailing fashion for scorning the restraints of civilisation. For tattoos are only
considered spiritual by people who go in for cults, witchcraft, crystals and other pagan throw-backs
which denote what is often smugly referred to as our post-religious age.

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In fact, this is an age of spiritual emptiness. The fashion for bodily mutilation is the outward sign of the
horrifying increase in those whose sense of themselves is fragile or shattered, very often because of
the fragmentation of the family.

It is no surprise that a footballing icon is increasingly disfiguring his splendid physique. Tattooing is a
form of wanton damage. One might say that in Beckham’s self-mutilation, the hooliganism of the
terraces is expressing itself in the vandalism of the body worshipped by the terraces.

For this is a culture the inner emptiness of which finds expression in both violence and self-mutilation,
to retreat from civilised values, deny reality and take refuge in a cosmetic defiance and pretence.

Further Readings
Books

Tracy Alderman The Scarred Soul: Understanding and Ending Self-Inflicted Violence. Oakland, CA:
New Harbinger Publications, 1997.

Sarah J. Brecht and Judy Redheffer Beyond the Razor’s Edge: Journey of Healing and Hope
Beyond Self Injury. Lincoln, NE: iUniverse.com, 2005.

Marissa Carney Stitched: A Memoir. Frederick, MD: PublishAmerica, 2005.

Nancy N. Chen and Helen Moglen, eds. Bodies in the Making: Transgressions and
Transformations. Santa Cruz, CA: New Pacific Press, 2007.

Leigh Cohn Self Harm Behaviors and Eating Disorders. London: Brunner-Routledge, 2004.

Robin E. Connors Self Injury: Psychotherapy with People Who Engage in Self-Inflicted Violence.
Lanham, MD: Jason Aronson, 2001.

Karen Conterio and Wendy Lader Bodily Harm: The Breakthrough Healing Program for Self-
Injurers. New York: Little, Brown, and Co., 1999.

Margo DeMello Bodies of Inscription: A Cultural History of the Modern Tattoo Community. Durham,
NC: Duke University Press, 2000.

Sharon Klayman Farber When the Body Is the Target: Self Harm, Pain and Traumatic
Attachments. Lanham, MD: Jason Aronson, 2000.

Armando R. Favazza Bodies Under Seige: Self-Mutilation and Body Modification in Culture and
Psychiatry. Baltimore: Johns Hopkins University Press, 1996.

Mike Featherstone Body Modification (Theory, Culture, and Society Series). London: SAGE
Publications, 2000.

Claudine Fox and Keith Dawson, eds. Deliberate Self-Harm in Adolescence. London: Jessica
Kingsley, 2004.

Fiona Gardner Self-Harm: A Psychotherapeutic Approach. London: Brunner-Routledge, 2001.

Carol Groning and Ferdinand Anton Decorated Skins: A World Survey of Body Art. London:
Thames and Hudson, 2001.

Jane Wegscheider Hyman Women Living with Self Injury. Philadelphia: Temple University Press,
1999.

Victoria Leatham Bloodletting: A True Story of Secrets, Self-Harm and Survival. London: Allison
and Busby, 2006.

Diana Milia Self-Mutilation and Art Therapy: Violent Creation. London: Jessica Kingsley, 2000.

Arthur W. Perry and Michael F. Roizen Straight Talk About Cosmetic Surgery. New Haven, CT:
Yale University Press, 2007.

Alysa Phillips Stranger in My Skin. Minneapolis: Word Warriors Press, 2006.

Victoria Pitts In the Flesh: The Cultural Politics of Body Modification. New York: Palgrave
Macmillan, 2003.

Ted Polhemus and Housk Randall The Customized Body. London: Serpent’s Tail, 2000.

John A. Rush Spiritual Tattoo: A Cultural History of Tattooing, Piercing, Scarification, Branding,
and Implants. Berkeley, CA: Frog, Ltd., 2005.

Ulrike Schmidt and Kate Davidson Life After Self-Harm: A Guide to the Future. New York:
Routledge, 2004.

Carolyn M. Smith and Maggie Turp Cutting It Out: A Journey Through Psychotherapy and Self-
Harm. London: Jessica Kingsley, 2005.

Lois W. Stern Sex, Lies, and Cosmetic Surgery: Things You’ll Never Learn From Your Plastic
Surgeon. West Conshohocken, PA: Infinity, 2006.

Marilee Strong A Bright Red Scream: Self-Mutilation and the Language of Pain. London: Virago
Press Ltd., 2005.

Jan Sutton Healing the Hurt Within: Understand Self-Injury and Self-Harm, and Heal the Emotional
Wounds. Oxford: How to Books, 2005.

Maggie Turp Hidden Self-Harm: Narratives From Psychotherapy. London: Jessica Kingsley.

V.J. Turner Secret Scar: Uncovering and Understanding the Addiction of Self-Injury. Center City,
MN: Information and Educational Services, 2002.

Barent W. Walsh Treating Self Injury. New York: Guilford Publications, 2005.

Edward T. Welch Self-Injury: When Pain Feels Good. Phillipsburg, PA: P & R Publishing, 2004.

Periodicals
Anna Arroba “The Medicalization of Women’s Bodies in the Era of Globalization,” Women’s Health
Journal, January-March 2003.

Linda Bickerstaff “Tattoos: Fad, Fashion, or Folly?” Odyssey, May 2005.

Rose Cooper “Tattoo You?” April 12, 2006www.onlineopinion.com.

Andy Crouch “Wrinkles in Time: Botox Injections as a Spiritual Discipline,” Christianity Today,
August 2000.

Debra Darvick “Service with a Smile,” Newsweek, July 12, 2004.

GP “The Price of Adornment,” September 13, 2004.

Theresa E. Gunter and Betsy M. McDowall “Body Piercing: Issues in Adolescent Health,” Journal
for Specialists in Pediatric Nursing, April-June 2004.

Bruce Jancin “Body Modification: Personal Art or Cry for Help?” Family Practice News, August 15,
2005.

Jeremy Laurance “Body Piercing Revival Is ‘Rite of Passage’ as well as Fashion,” The
Independent, March 8, 2003.

Polly Sparling “Think Before You Ink,” Current Health 2: A Weekly Reader Publication, October
2004.

Teen Vogue “Hole Truth,” April 2006.

Pippa Wysong “Modified: Are Piercings and Tattoos Safe?” Current Health 2: A Weekly Reader
Publication, March 2006.

Full Text: COPYRIGHT 2008 Gale, Cengage Learning.

Source Citation
Phillips, Melanie. “Body Modification Is a Sign of Cultural Depravity.” Self-Mutilation, e

dited by Mary E. Williams, Greenhaven Press, 2008. Opposing Viewpoints. Opposi
ng Viewpoints in Context, http://link.galegroup.com/apps/doc/EJ3010510213/OVIC
?u=groves&xid=1f20edb7. Accessed 25 Feb. 2018. Originally published as “Why I
Deplore Anne’s Facelift (and Beckham’s Tattoo),” Daily Mail, 24 May 2004, p. 10.

Gale Document Number: GALE|EJ3010510213

http://link.galegroup.com/apps/doc/EJ3010510213/OVIC?u=groves&xid=1f20edb7

http://link.galegroup.com/apps/doc/EJ3010510213/OVIC?u=groves&xid=1f20edb7