Background: The Birth of a Nation (originally called The Clansman) is a 1915 American silent epic drama film directed and co-produced by D. W. Griffith and starring Lillian Gish. The screenplay is adapted from the novel and play The Clansman, both by Thomas Dixon Jr., as well as Dixon's novel The Leopard's Spots. Griffith co-wrote the screenplay with Frank E. Woods, and co-produced the film with Harry Aitken. It was released on February 8, 1915.
Context: In 1912, Thomas Dixon Jr. decided that he wanted to turn his popular 1905 novel and play The Clansman into a film, and began visiting various studios to see if they were interested. In late 1913, Dixon met the film producer Harry Aitken, who was interested in making a film out of The Clansman, and through Aitken, Dixon met Griffith. Griffith was the son of a Confederate officer and, like Dixon, viewed Reconstruction negatively. Griffith believed that a passage from The Clansman where Klansmen ride "to the rescue of persecuted white Southerners" could be adapted into a great cinematic sequence. Griffith began production in July 1914 and was finished by October 1914. The Birth of a Nation began filming in 1914 and pioneered such camera techniques as close-ups, fade-outs, and a carefully staged battle sequence with hundreds of extras made to look like thousands. It also contained many new artistic techniques, such as color tinting for dramatic purposes, building up the plot to an exciting climax, dramatizing history alongside fiction, and featuring its own musical score written for an orchestra.  The film was based on Dixon's novels The Clansman and The Leopard's Spots. It was originally to have been shot in Kinemacolor, but D. W. Griffith took over the Hollywood studio of Kinemacolor and its plans to film Dixon's novel. Griffith, whose father served as a colonel in the Confederate States Army, agreed to pay Thomas Dixon $10,000 (equivalent to $244,319 today) for the rights to his play The Clansman. Since he ran out of money and could afford only $2,500 of the original option, Griffith offered Dixon 25 percent interest in the picture. Dixon reluctantly agreed, and the unprecedented success of the film made him rich. Dixon's proceeds were the largest sum any author had received for a motion picture story and amounted to several million dollars. The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's, as Dixon had an obsession in his novels of describing in loving detail the lynchings of black men, which did not reflect Griffith's interests.  Griffith's budget started at US$40,000 (equivalent to $970,000 today) but rose to over $100,000 (the equivalent of $2,420,000 in constant dollars). West Point engineers provided technical advice on the American Civil War battle scenes, providing Griffith with the artillery used in the film. Some scenes from the movie were filmed on the porches and lawns of Homewood Plantation in Natchez, Mississippi. The film premiered on February 8, 1915, at Clune's Auditorium in downtown Los Angeles. At its premiere the film was entitled The Clansman; the title was later changed to The Birth of a Nation to reflect Griffith's belief that the United States emerged from the American Civil War and Reconstruction as a unified nation.
Question: What did this mean
Answer: The American historian John Hope Franklin suggested that many aspects of the script for The Birth of a Nation appeared to reflect Dixon's concerns more than Griffith's,

Background: Kenneth Duva Burke (May 5, 1897 - November 19, 1993) was an American literary theorist, as well as poet, essayist, and novelist, who wrote on 20th-century philosophy, aesthetics, criticism, and rhetorical theory. As a literary theorist, Burke was best known for his analyses based on the nature of knowledge. Furthermore, he was one of the first individuals to stray away from more traditional rhetoric and view literature as "symbolic action." Burke was unorthodox, concerning himself not only with literary texts, but with the elements of the text that interacted with the audience: social, historical, political background, author biography, etc.
Context: Burke called the social and political rhetorical analysis "dramatism" and believed that such an approach to language analysis and language usage could help us understand the basis of conflict, the virtues and dangers of cooperation, and the opportunities of identification and consubstantiality.  Burke defined the rhetorical function of language as "a symbolic means of inducing cooperation in beings that by nature respond to symbols." His definition of humanity states that "man" is "the symbol using, making, and mis-using animal, inventor of the negative, separated from his natural condition by instruments of his own making, goaded by the spirit of hierarchy, and rotten with perfection." For Burke, some of the most significant problems in human behavior resulted from instances of symbols using human beings rather than human beings using symbols.  Burke proposed that when we attribute motives to others, we tend to rely on ratios between five elements: act, scene, agent, agency, and purpose. This has become known as the dramatistic pentad. The pentad is grounded in his dramatistic method, which considers human communication as a form of action. Dramatism "invites one to consider the matter of motives in a perspective that, being developed from the analysis of drama, treats language and thought primarily as modes of action" (Grammar of Motives xxii). Burke pursued literary criticism not as a formalistic enterprise but rather as an enterprise with significant sociological impact; he saw literature as "equipment for living," offering folk wisdom and common sense to people and thus guiding the way they lived their lives.
Question: Who influenced his thinking on dramatism?
Answer: