Faces of the Muslim Enemy_Presentation Part I.pdf
Faces of the Muslim Enemy_Presentation Part I.pdf
Faces of the Muslim Enemy_Presentation Part I.pdf
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“Mahomet, with <strong>the</strong><br />
sword in one hand<br />
[and] <strong>the</strong> Koran in<br />
<strong>the</strong> o<strong>the</strong>r, erected<br />
his throne on <strong>the</strong><br />
ruins <strong>of</strong> Christianity<br />
and <strong>of</strong> Rome.”<br />
Edward Gibbon, The History<br />
<strong>of</strong> <strong>the</strong> Decline and Fall <strong>of</strong><br />
<strong>the</strong> Roman Empire (1776)<br />
Illustration <strong>of</strong> <strong>the</strong> Prophet Muhammad taken<br />
from Humphrey Prideaux’s La vie de Mahomet<br />
(1699)
William Blake, watercolor, Gustave 1826-27 Doré, engraving, 1860
Leon Jean Auguste Belly, oil Dominique on canvas, Ingres, 1861 oil on Henri canvas, Regnault, 1839 oil on canvas, 1870
“Turk as Barbarian” 1897<br />
Judge magazine, 1903
Syn<strong>the</strong>sis <strong>of</strong> a Negative Social Atmosphere
Rhetorical tropes and modes <strong>of</strong> persuasion<br />
Synecdoche: A figure <strong>of</strong> speech in which a part <strong>of</strong> something<br />
represents <strong>the</strong> whole or <strong>the</strong> whole represents a part; a specific thing<br />
refers to a general class or a general class refers to a specific thing.<br />
Examples: “hands” in reference to workers, “England” in reference to<br />
<strong>the</strong> entire UK, “steel” in place <strong>of</strong> sword, “John Hancock” for a<br />
signature, “wheels” for a car, “<strong>the</strong> Good Book” for <strong>the</strong> Bible.<br />
Metonymy: A figure <strong>of</strong> speech in which a thing or concept is<br />
represented not by itself but ra<strong>the</strong>r by something closely associated<br />
with that thing or concept. Examples: “Washington” for <strong>the</strong> US<br />
government, “Wall Street” for <strong>the</strong> American finance industry.<br />
Pathos: An appeal to audiences’ emotions, sympathies, and<br />
imagination with <strong>the</strong> intent <strong>of</strong> persuading <strong>the</strong>m to see things <strong>the</strong> way<br />
<strong>the</strong> author does.
The <strong>Enemy</strong> as<br />
Criminal or<br />
Sociopath
The Irrational, Incomprehensible <strong>Enemy</strong>
The <strong>Enemy</strong> as<br />
Threat to<br />
Civilization