Chapter 9 Reading Guide: Propaganda, Persuasion, Politics

Chapter 9 Reading Guide93 Propaganda Persuasion Politics And Powerw

Chapter 9 Reading Guide 9.3 Propaganda, Persuasion, Politics and Power What is a present day definition of propaganda? What separates the difference between propaganda and persuasion? What was the name of the city of the 6th BCE building that the Persians used as a form of propaganda to communicate power and strength? How can painting serve as a piece of propaganda? 9.4 Imagery of War 9.4.1 - Historical/Documentary How can art mark a moment of triumph and validate a leader’s right to rule? How could photography impact the way the audience views war? How was the horror of war depicted? 9.4.2 Reflective/Reactionary and Anti-war How can works of art be anti-war and reactionary to the events of war? 9.4.3 - Prohibition or Destruction of Imagery: Iconoclast Why are human representations in religious art oftentimes not included? Why did people want to destroy religious images over the course of history? Why did people want to destroy the images of political and royal figures? Medical Terminology: Musculoskeletal System PT116 Unit 3 Assignment Combining Forms Meaning ankyl/o articul/o carp/o cortic/o cost/o kyph/o lamin/o lord/o medull/o myel/o orth/o ped/o pod/o scoli/o spondyl/o stern/o synovi/o tars/o extens/o fasci/o my/o myos/o plant/o ten/o vers/o Suffixes Meaning –blast –clasia –desis –listhesis –porosis –asthenia –ion –kinesia –tonia Prefixes Meaning ab- ad- circum- e- in- Multiple Choice Highlight or bold the correct answer. 1. The term meaning movement toward the midline is a. abduction. b. circumduction. c. eversion. d. adduction. 2. A specialist in treating disorders of the feet is a(n) a. orthopedist. b. orthotist. c. podiatrist. d. physiatrist. 3. The surgical term arthrodesis is defined as a. surgical fusion of a joint. b. surgical breaking of a joint. c. incision into a joint. d. excision of a joint. 4. The condition that involves an abnormal lateral curve of the spine is a. lordosis. b. ankylosis. c. kyphosis. d. scoliosis.

Paper For Above instruction

The concept of propaganda plays a significant role in shaping political, social, and cultural narratives throughout history. Presently, propaganda can be defined as the dissemination of information—often biased or misleading—used to promote a particular political cause or point of view. Unlike persuasion, which appeals to reason and voluntary decision-making, propaganda often employs emotional manipulation, repetition, and the strategic use of symbols to influence public opinion and behavior (Jowett & O'Donnell, 2019). The defining feature of propaganda is its intent to manipulate perceptions rather than inform objectively, which sets it apart from genuine persuasion efforts rooted in rational discourse.

The city of Persepolis, established as the ceremonial capital of the Persian Empire during the 6th century BCE, served as a grand symbol of Persian power and authority. Constructed with impressive stone reliefs and inscriptions, Persepolis functioned as a visual and architectural form of propaganda, showcasing the wealth, military might, and divine legitimacy of the Persian kings (Schmidt, 2020). The grandeur of its palaces and the detailed bas-reliefs depicted conquered nations bringing tributes, thereby communicating the empire's dominance and divine right to rule to both subjects and outsiders.

Painting and other visual arts have historically served as potent tools of propaganda by capturing and immortalizing moments that affirm political authority or cultural ideals. Artistic representations of leaders' triumphs—such as victory portraits or battle scenes—validate their right to rule by emphasizing their strength and divine favor. For example, classical Roman coins and statues commemorated military victories, reinforcing political stability and loyalty (Lloyd, 2017). Similarly, photography revolutionized the visual portrayal of war by providing candid, immediate images of conflict, which could influence public perception—either galvanizing support or fostering anti-war sentiments. Photographs of war's horrors, like those from the Vietnam War, starkly revealed the brutal realities of combat, stirring emotional responses that impacted policy and public opinion (Hochschild, 2016).

Artwork’s capacity to be reactionary or anti-war arises from its ability to evoke empathy and critique social injustices. Anti-war artists often depict the destruction caused by conflict, the suffering of civilians, and the loss of innocence, thereby challenging patriotic narratives and governmental motives. During the 20th century, movements such as Dadaism and Surrealism employed art as a reaction against the horrors of war, aiming to provoke critical reflection and promote peace (Taylor, 2018). These works serve as a visual protest against violence, emphasizing human suffering over heroic triumphs.

The destruction of religious imagery, known as iconoclasm, reflects historical debates over the visual representation of the divine. Human figures are often avoided in religious art to emphasize the transcendence and incompleteness of divine authority, aiming to prevent idolatry. Over centuries, rulers and religious authorities often sought to destroy images they deemed heretical or politically threatening, viewing them as idols that could divert devotion or cause political unrest. Iconoclasm also targeted political and royal portraits during periods of revolution or reform, symbolizing a rejection of authority and the desire for societal change (Bovon & Lemaitre, 2019). Such acts of destruction were often driven by theological convictions, political upheaval, or the desire to remake cultural identities.

References

• Hochschild, Adam. (2016). To End All Wars: A Story of Loyalty and Rebellion, 1914-1918. Houghton Mifflin Harcourt.
• Jowett, G. S., & O'Donnell, V. (2019). Propaganda & Persuasion. SAGE Publications.
• Lloyd, G. (2017). Art, Power, and Politics in Ancient Rome. Cambridge University Press.
• Schmidt, P. R. (2020). Persian Art and Architecture: The Power of Symbols. University of Chicago Press.
• Taylor, G. (2018). Art and Resistance: Anti-War Movements in Modern Art. Routledge.
• Bovon, F., & Lemaitre, A. (2019). Iconoclasm: The Visual Politics of Destruction. Oxford University Press.