A mere observer of our class would understand that key terms in rhetoric are quite important. After all, why would a class focus so fervently on projects revolving around what simply appear to be single words of random meaning? We focus on such words because to see a word inspires one to seek the definition and thereby finding enlightenment. Of course, this enlightenment is not some epiphany or euphoric realization of a higher meaning, but the meaning derived from understanding and using the key terms of rhetoric do allow one a journey on the path of composition, closer to a more elevated state of mind than thought possible.
Personally, key terms that apply to my newly revised theory of composition and to my take on rhetoric as a whole are situation, style, ideology, and process. All in all, however, I believe that the former three terms are all within and of the last term. For without an audience, a style, and a grouping of ideas, how would one go about composing a piece at all?
The system of a process is to “create meaningful relationships among the ideas presented within the writer’s text” (Gorrell). Such ideas stem from the situation, the writer’s style and the formation and set of ideas in the first place in the form of ideology.
Covino and Jolliffe state that process entered the scene “as a method of writing instruction that relied heavily upon invention strategies,” also tying into the key word of invention. I also like to think of process as the encompassed scope of strategies in rhetoric and composition that ties in important facets that may otherwise be neglected or alienated as their own words and sources. 
These other words, however, can be seen as part of the grand scheme. Much like process, style tends to affect and be affected by other parts of composition. Weathers presents a theory that differs from other theorists in terms of style. He presents that “teachers should ‘say that style is the proof of a human beings individuality.” Along the same lines, Gibson states that style is how writers “present to us a self.” Style therefore explores the depths of a person’s individual method of composing and then ties into their ideology.
Prior to being assigned the key term for my project, I had not really thought about how ideology affects composition and rhetoric. The silliness of such an oversight struck me, however, after a few moments with a computer and insight into
His assertion that “rhetoric can never be innocent of ideology” displays that every written and spoken word or expression of information within rhetoric gains some traits from personal, societal, cultural, or political bias. Even if this bias is unintentional, the ideology of rhetoric is present everywhere and therefore assists in the composing process.
Lastly, a key term on which I like to focus is rhetorical situation. The rhetorical situation, as presented by Bizter, finds a clearer audience with exigence. One must consider the situation and happenings around them, as well as the audience, to make the most appealing discourse possible. If the situation calls for more sensitive speech, going in with guns blazing would be inappropriate and would turn many away from the possibly deep and significant meaning of one’s work.
Knowledge, in the modern era, feels like energy. It is almost as if it cannot be created or destroyed. Yet, with the knowledge already in the stores of minds everywhere, knowledge can be expanded. Most ideas in the present come from existing postulates or theories that have not been fully explored. Therefore, knowledge, in my opinion, can feel new, but the ideas are new and the knowledge is refreshed. Knowledge in this class applies in the sense that we take from knowledge and move it to different places. Knowledge is remediated.
Reflecting on what I have learned thus far from this class, I can see that reflecting is important in learning. However circular as that may sound, with reflecting on past blog post, the poster project, and the like, I can see how this class has expanded the world of media for me. That being said, my theory of composition is much more concrete than before. Previously, I alluded that composing was divine and ethereal, and while some part of me still holds true to that belief, I know now that my theory of composing includes solid steps. I absorb and attain as much information on my subject as possible, and I procrastinate. From the procrastination stages, things steep and I finally write it all out as quickly as possible. Yet, with that work completed, I can reflect, and that is where I truly learn about myself as a composer.
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