[The Ad Hominem Argument] attempting to refute an argument by attacking the opposition’s personal character or reputation
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(also, "Personal attack," "Poisoning the well"): a type of informal fallacy where adverse information about a target is preemptively presented to an audience, with the intention of discrediting or ridiculing something that the target person is about to say. The fallacy attempts to refute an argument by attacking the opposition’s intelligence, morals, education, professional qualifications, personal character or reputation, using a corrupted negative argument from ethos (1). E.g., "That so-called judge;" or "He's so evil that you can't believe anything he says." See also "Guilt by Association."
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The pleasures of ignorance are as great, in their way, as the pleasures of knowledge. For though the light is ...
[...] the act of reading is a secret, and sometimes fertile, ceremony of communion. Anyone who reads something that is really worth the trouble does not read with impunity. Reading one of those books that breathe when you put them to your ear does not leave you untouched: it changes you, even if only a little bit, it integrates something into you, something that you did not know or had not imagined, and it invites you to seek, to ask questions. And more still: sometimes it can even help you to discover the true meaning of words betrayed by the dictionary of our times. What more could a critical consciousness want?
One piece of information followed by a denial, that's two pieces of information.
The basic project of art is always to make the world whole and comprehensible, to restore it to us in all its glory and its occasional nastiness, not through argument but through feeling, and then to close the gap between you and everything that is not you, and in this way pass from feeling to meaning. It’s not something that committees can do. It’s not a task achieved by groups or by movements. It’s done by individuals, each person mediating in some way between a sense of history and an experience of the world.
Dear Mr. —
It comes down to the meaning of ‘needless.’ Often a word can be removed without destroying the structure of a sentence, but that does not necessarily mean that the word is needless or that the sentence has gained by its removal.
If you were to put a narrow construction on the word ‘needless,’ you would have to remove tens of thousands of words from Shakespeare, who seldom said anything in six words that could be said in twenty. Writing is not an exercise in excision, it’s a journey into sound. How about [Macbeth’s] ‘tomorrow and ...