Suasive verbs imply intentions to bring about some change in the future.
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Oliver Goldsmith was the most pure and suasive spirit of his age.
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Ministers of religion as well as physicians have always wielded with authority the suasive power.
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Character is one of the most important instructive and suasive devices in literature, Fowler points out.
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The inaugural address has been characterized as a suasive message that presidents craft to establish their national leadership.
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We have proven through the land mines issue that we have the moral suasive power to do this.
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Though certainly not gifted with the imaginative powers of a poetic bard of Rajpootana, their suasive influence is very telling.
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He had the most suasive, genial, and gentlemanly comedy manner conceivable, and was never for a minute away from the footlights.
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In contrast, presidents' inaugural addresses have been described as suasive messages that are crafted to showcase the newly elected president as a national leader.
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The inaugural address is regarded as an essentially suasive speech in which the president may articulate his vision of what the nation can and should be.
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We can and must use our moral suasive power, use the tools that are at our fingertips to build a better, more peaceful world for all people.
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We are approaching an era in foreign policy when Canada can use its moral suasive power to lead other like-minded nations in developing a more peaceful world.
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About the best one can say for it is that it depends on substantial and moot principles of Aristotelian metaphysics, and, in any case, as a suasive argument, begs the question.
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This type of art represents what we see with our human eyes. Anton Chekov, for instance, used camera works to reproduce an uninflected slice of life, exposing the rhetorical and suasive character of realistic theatricality. Scholars such as Thomas Postlewait noted that throughout the nineteenth and twentieth centuries, there were numerous joinings of melodramatic and realistic forms and functions, which could be demonstrated in the way melodramatic elements existed in realistic forms and vice versa. In the United States, realism in drama preceded fictional realism by about two decades as theater historians identified the first impetus toward realism during the late 1870s and early 1880s.
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Ho (1986): 912. Yang's position required him to praise the virtue and glory of Emperor Cheng of Han and the grandeur of imperial outings, but he was disturbed by the wasteful extravagance of the imperial court. Yang attempted to return the fu genre to a focus of "suasive admonition" (fèng 諷), which he believed was the original purpose of the earliest fu-type writings of Qu Yuan, but his couched admonitions against extravagance went unnoticed and unheeded by Emperor Cheng. Yang's most famous work, Exemplary Sayings (Fa yan 法言) is a philosophical work modeled on the Analects of Confucius (Lunyu), in which Yang criticizes fu writers for focusing on ornate, esoteric language while ignoring more important issues of morality.
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For Toulmin, audience is important because one speaks to a particular audience at a particular point in time, and thus an argument must be relevant to that audience. In this instance, Toulmin echoes Feyerabend, who in his preoccupation with suasive processes, makes clear the adaptive nature of persuasion. Toulmin's ideas pertaining to argument were a radical import to argumentation theory because, in part, he contributes a model, and because he contributes greatly to rhetoric and its subfield, rhetoric of science, by providing a model of analysis (data, warrants) to show that what is argued on a subject is in effect a structured arrangement of values that are purposive and lead to a certain line of thought. Toulmin showed in Human Understanding that the arguments that would support claims as different as the Copernican revolution and the Ptolemaic revolution would not require mediation.
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