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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.
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.
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How can symbols use human beings?

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Henry Lawrence Garfield (born February 13, 1961), better known by his stage name Henry Rollins, is an American musician, actor, writer, television and radio host, and comedian. He hosts a weekly radio show on KCRW, and is a regular columnist for Rolling Stone Australia and was a regular columnist for LA Weekly. After performing in the short-lived Washington, D.C. band State of Alert in 1980, Rollins fronted the California hardcore punk band Black Flag from August 1981 until mid-1986. Following the band's breakup, Rollins established the record label and publishing company 2.13.61 to release his spoken word albums, and formed the Rollins Band, which toured with a number of lineups from 1987 until 2003, and during 2006.
Rollins and his best friend Joe Cole, son of actor Dennis Cole, were involved in a shooting when they were assaulted by robbers in December 1991 outside their shared Venice Beach, California, home. Cole died after being shot in the face, but Rollins escaped. The murder remains unsolved.  In an April 1992 Los Angeles Times interview, Rollins revealed he kept a plastic container full of soil soaked with the blood of Cole. Rollins said "I dug up all the earth where his head fell--he was shot in the face--and I've got all the dirt here, and so Cole's in the house. I say good morning to him every day. I got his phone, too, so I got a direct line to him. So that feels good."  In a 2001 interview with Howard Stern, Rollins was asked about rumors that he had Cole's brain in his house. Rollins stated that he only has the soil from the spot Cole was killed. During the interview, Rollins also speculated that the reason they were targeted may have been because days prior to the incident, record producer Rick Rubin - who was a fan of the Rollins Band - had requested to hear the then newly recorded album, The End of Silence, and parked his Rolls-Royce outside their Venice Beach house while carrying a cell phone. Because of the notoriety of the neighborhood, Rollins suspected that this would bring trouble because of the implication that they had a lot of money in the home. He even wrote in his journal the night of Rubin's visit: "My place is going to get popped."  Rollins has included Cole's story in his spoken word performances.
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In a 2001 interview with Howard Stern, Rollins was asked about rumors that he had Cole's brain in his house.


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Jean-Philippe Rameau (French: [Zafilip Ramo]; (1683-09-25)25 September 1683 - (1764-09-12)12 September 1764) was one of the most important French composers and music theorists of the 18th century. He replaced Jean-Baptiste Lully as the dominant composer of French opera and is also considered the leading French composer for the harpsichord of his time, alongside Francois Couperin. Little is known about Rameau's early years, and it was not until the 1720s that he won fame as a major theorist of music with his Treatise on Harmony (1722) and also in the following years as a composer of masterpieces for the harpsichord, which circulated throughout Europe.
Unlike Lully, who collaborated with Philippe Quinault on almost all his operas, Rameau rarely worked with the same librettist twice. He was highly demanding and bad-tempered, unable to maintain longstanding partnerships with his librettists, with the exception of Louis de Cahusac, who collaborated with him on several operas, including Les fetes de l'Hymen et de l'Amour (1747), Zais (1748), Nais (1749), Zoroastre (1749; revised 1756), La naissance d'Osiris (1754), and Anacreon (the first of Rameau's operas by that name, 1754). He is also credited with writing the libretto of Rameau's final work, Les Boreades (c. 1763).  Many Rameau specialists have regretted that the collaboration with Houdar de la Motte never took place, and that the Samson project with Voltaire came to nothing because the librettists Rameau did work with were second-rate. He made his acquaintance of most of them at La Poupliniere's salon, at the Societe du Caveau, or at the house of the Comte de Livry, all meeting places for leading cultural figures of the day.  Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: the plots were often overly complex or unconvincing. But this was standard for the genre, and is probably part of its charm. The versification, too, was mediocre, and Rameau often had to have the libretto modified and rewrite the music after the premiere because of the ensuing criticism. This is why we have two versions of Castor et Pollux (1737 and 1754) and three of Dardanus (1739, 1744, and 1760).
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What else is interesting?

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Not one of his librettists managed to produce a libretto on the same artistic level as Rameau's music: