Writing in the academy is almost always about making a claim, or ‘case’, based on evidence, as one does in court: its rhetoric is forensic (L. forensis ‘in open court, public’, from forum), in Aristotle’s sense. Just as forensic rhetoric takes as a given the laws of the polis and is directed at persuading a judge (Aristotle 1991: 80-82), academic writing assumes a set of rules (one must be sincere, demonstrate one’s argument using evidence, and obey a certain decorum) and is written to persuade an assessor, namely a teacher or peer. And, since the Harvard ‘forensic system’ of essay writing in the late 1870s (Russell 2002: 51-63), it has often been taught in the language of forensic rhetoric: in particular, the apocryphal ‘rhetorical triangle’ of persuasion by ethos, logos and pathos (Booth 1963; Kinneavy 1971) and the informal logic of the enthymeme (Toulmin 1958). At its best, academic...

Rhetoric is the art of discourse, wherein a writer or speaker strives to inform, persuade or motivate particular audiences in specific situations. As a subject of formal study and a productive civic practice, rhetoric has played a central role in the European tradition.[1] Its best known definition comes from Aristotle, who considers it a counterpart of both logic and politics, and calls it "the faculty of observing in any given case the available means of persuasion."[2] Rhetoric typically provides heuristics for understanding, discovering, and developing arguments for particular situations, such as Aristotle's three persuasive audience appeals, logos, pathos, and ethos. The five canons of rhetoric, which trace the traditional tasks in designing a persuasive speech, were first codified in classical Rome: invention, arrangement, style, memory, and delivery. Along with grammar and logic (or dialectic—see Martianus Capella), rhetoric is one of the three ancient arts of discourse....