Counterargument

1. Counterargument • In persuasive-argumentative writing, used to show your readers that you are knowledgeable about a full range of positions other than your own. • As a rhetorical strategy, it demonstrates that you are interested in finding common ground and consensus with your opponents. • As a statement of your character, it shows that you are honest and forthcoming about other viewpoints that might jeopardize your position.

2. ACKNOWLEDGMENT: a paraphrase, with useful examples, of an argument posed by your potential opponents proof to your readers that you can, not only understand the complex ideas of your opponents, but digest them clearly for the edification of your readers. remains neutral in tone introduces the counter-argumentative process as if to say, “Let me see if I understand my opponent correctly: . . . .” 3 Stages of CounterargumentSTAGE 1: ACKNOWLEGMENT

3. Example of AcknowledgmentAdvocates of NC-17 movie ratings tout the extreme violence of horror films as deserving of extreme caution because of its potential influences on minors under seventeen years of age. Though murder and death are common components of many films, critics single out films whose violence includes acts of butchery, particularly if it is coupled in any way with nudity and sexual situations. The moral compass of young people, they claim, is solidifying itself at this formative stage in the psychological development of adolescents.

4. ACCOMMODATION: a statement conceding to the merit of some part of the opposing argument--either in the argument, itself, or in the character and values of the arguer establishes common ground. shows you are representing the opposition as fairly as possible. points out logic, values, interpretations, motivations that you respect in the opposing argument shows you are capable of empathy and understanding. is careful to agree ONLY IN PART with the opponent proves you've chosen an opponent of equal or greater strength STAGE 2: ACCOMMODATION

5. Example of AccommodationEven staunch defenders of traditional pornography like myself can sympathize with these concerns. The offense of such violent movies is not in the graphic depiction of their blood and brutality, but rather in their psychological power to subvert important principles of good character, such as compassion, gentleness, fairness and generosity. Sex coupled with violence is the worst of these offenses, it seems. For example, a film in which a nameless military character is blown up is far less disturbing than a character whose name we know, who is placed into a sexually vulnerable or compromising position, and who is subjected to all manner of horrors. A young person might, in fact, become desensitized to sexual ethics along with the violence.

6. REFUTATION: 1)Argue against the opponent on the terms introduced by you in acknowledgment, OR 2)Subvert the choice of criteria used the opponent, by introduced what you believe to be a more valid set of criteria to discuss the argument. remains even-tempered and uses a rational tone responds by addressing those parts of the opposing argument with which you CANNOT agree: interpretations of the facts; inappropriate examples subverts logic or questions the values in the opposing argument, in defense of your own position. does not veer off topic: stays focused on the criteria introduced in acknowledgment STAGE 3: REFUTATION

7. Example of RefutationHowever, this is rarely the case because horror films do not exist in a vacuum. Other genres of film that exploit similar issues of violence and sexuality--films which adolescents see far more frequently, and in social arrangements, such as dating--provide other sensible models of sexual and social ethics. On the one hand, advocates of NC-17 movie ratings give young people far too much credit for paying attention to the ethical paradigms presented in these movies; they have much more on their minds most of the time. On the other hand, such pushers of public decency scarcely give adolescents enough credit for relying on their own ethos, moral dispositions and cultural upbringing to decide what is right and wrong about sexuality and violence. Despite claims that young people are at the mercy of the film industry's models of social behavior, adolescents are characteristically rebellious and questioning, and these behaviors extend to their encounters with violence on film. Rather, one might say that movie ratings advocates trust themselves far less than they trust teenagers, to counsel children under seventeen years of age about sensitive matters like violence and sex. Their own failure of nerve to be parents and counselors is the real problem, and no amount of ratings control will successfully shift the responsibility of parenting onto the film industry.

8. Pitfalls • Avoid becoming shrill in your tone. • Address the issue at hand to avoid making ad hominem attacks or red herring arguments. • Be sure to do a full and thorough job of accommodation; do not, for example, write, “My opponent might make a good point, but . . .” • Don’t forget to include examples in every stage of the counterargument. • Be certain that your refutation doesn’t change the topic capriciously. If you do intentionally change the issue that was introduced in the Acknowledgment, make sure that you explain your rationale. • Identify the source of your opposing arguments as specifically as possible, and represent your opponent fairly and honestly.

9. Persuasive-Argumentative Essays • Devote one portion of your essay to an anticipation of the opposing arguments. • Address three separate opposing points. • Dedicate a single paragraph to a single opposing argument. • Include all three stages--Acknowledgment, Accommodation, and Refutation--in a single paragraph. For example, do not group all three acknowledgments together. Do not start a new paragraph with accommodation or refutation (unless the refutation is exceptionally complex and much longer than the other components).

10. Show your quality!Impress readers with your sophisticated and subtle reasoning, and used sources, not only for their information, but for the authority and expertise that they can loan you.Refutation is not about logic only. Appeal to your readers’ emotional sensibilities and their values.Make the process intellectually enjoyable to yourself, without creating the impression that you are sparring with adversaries.