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Ideograph is a term coined by rhetorical scholar and critic Michael Calvin McGee describing the use of particular words and phrases as political language in a way that captures (as well as creates or reinforces) particular ideological positions. McGee sees the ideograph as a way of understanding of how specific, concrete instances of political discourse relate to the more abstract idea of political ideology.[1]



McGee defines ideograph in his article “The ‘Ideograph’: A Link Between Rhetoric and Ideology” which appeared in the Quarterly Journal of Speech in 1980.[2] He begins his essay by defining the practice of ideology as practice of political language in specific contexts—actual discursive acts by individual speakers and writers. The question this raises is how does this practice of ideology create social control.

McGee’s answer to this is to say that “political language which manifests ideology seems characterized by slogans, a vocabulary of ‘ideographs’ easily mistaken for the technical terminology of political philosophy.”.[3]

More specifically, he goes on to offer his definition of “ideograph”: “an ideograph is an ordinary-language term found in political discourse. It is a high order abstraction representing commitment to a particular but equivocal and ill-defined normative goal.”.[4]

An ideograph, then, is not just any particular word or phrase used in political discourse, but one of a particular subset of “hot button” terms that are often invoked in political discourse but which does not have a clear, univocal definition. Despite this, in their use, ideographs are often invoked precisely to give the sense of a clearly understood and shared meaning.

These potent terms makes them the primary tools for shaping public decisions. It is in this role as the vocabulary for public values and decision-making that they are linked to ideology.


For McGee, there is no absolute litmus test for what terms are or are not ideographs. Rather, this is a judgment that must be made through the study of specific examples of discourse.

However, McGee (and others who have followed him) have identified several examples of ideographs or virtue words in Western liberal political discourse, such as “liberty,” “property,” “freedom of speech,” “religion,” “equality,” and "star."

In each case, the term does not have a specific referent. Rather, each term refers to an abstraction which may have many different meanings depending on its context. It is in their mutability that ideographs have such rhetorical power. If the definition of a term such as “equality” can be stretched to include a particular act or condition, then public support for that act or condition is likely to be stronger than it was previously.

By encapsulating values which are perceived to be widely shared by the community, but which are in fact highly abstract and defined in very different ways by individuals, ideographs provide a potent persuasive tool for the political speaker.

McGee offers the example of Richard Nixon’s attempt to defend his decision not to turn over documents to Congress during the Watergate investigation by invoking “the principle of confidentiality.” Recognizing that his refusal to submit to Congress could be seen as a violation of the “rule of law,” Nixon pitted “the principle of confidentiality” against the “rule of law,” despite the fact that these two ideographs would, in the abstract, not likely be seen as in conflict with one another..[5]

Nixon, in an attempt to expand the understanding of “the principle of confidentiality” to cover his own specific refusal to cooperate with Congress, used the abstractness of the term to his benefit. By suggesting that the “rule of law” and the “principle of confidentiality” were in conflict (and claiming that right to confidentiality was the more central term), Nixon defended his own actions by applying the ideograph of the “principle of confidentiality” to them..[6]


There are three primary ways in which the concept of the ideograph is important to rhetorical critics. First, it suggests a way of studying political ideology using concrete instances of language use. By showing how looking at specific uses of key words and phrases in political language reveal underlying ideological commitments, McGee offers a concrete method for understanding the highly abstract concept of ideology.

Second, the definition of the ideograph makes clear that the rhetorical study of a term is different from a legal, historical, or etymological study of a term. Unlike other perspectives that focus on how a term has changed over time, a rhetorical study of a term focuses on the forces involved in the creation of these meanings. In short, a rhetorical study of a term is the study of the use of that term in practice.

This leads to a third key aspect of what the concept of the ideograph offers to rhetorical critics. McGee notes that the study of a term must not, and should not, be limited to its use in “formal discourse.” Instead, the critic is much more likely to gain a better understanding of an ideograph by looking at how it is used and depicted in movies, plays, and songs, as well as how it is presented in educational texts aimed at children. This moves the study of ideology beyond the limits of social philosophy or even political discourse as traditionally conceived (i.e., “great speeches by great men”).

Critical Use Of Ideographs

At the end of his essay defining the ideograph, McGee says that

“A complete description of an ideology . . . will consist of (1) the isolation of a society’s ideographs, (2) the exposure and analysis of the diachronic structure of every ideography, and (3) characterization of synchronic relationships among all the ideographs in a particular context.”.[7]

Such an exhaustive study of any ideology has yet to materialize, but many scholars have made use of the ideograph as a tool of understanding both specific rhetorical situations as well as a broader scope of ideological history. As a teacher, McGee himself made use of the ideograph as a tool for structuring the study of the rise of liberalism in British public address, focusing on ideographs such as “property,” “patriarchy,” “religion,” “liberty.” Other scholars have made a study of specific uses of ideographs such as “family values”[8] and “equality.”[9] Some critics have gone beyond the idea that an ideograph must be a verbal symbol and have expanded the notion to include photographs[10] and objects represented in the media.[11]

See also


  1. ^ Jasinski, J. (2001). Sourcebook on rhetoric: Key concepts in contemporary rhetorical studies. Thousand Oaks, CA: Sage Publications.
  2. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  3. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  4. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  5. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  6. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  7. ^ McGee, M.C. (1980). The “ideograph”: A link between rhetoric and ideology. Quarterly Journal of Speech, 66, 1-16.
  8. ^ Cloud, D. L. (1998). The rhetoric of <family values>: Scapegoating, utopia, and the privatization of social responsibility. Western Journal of Communication, 62, 387-419.
  9. ^ Condit, C. M. & Lucaites, J. L. (1993). Crafting quality: America’s Anglo-African word. Chicago: University of Chicago Press.
  10. ^ Edwards, J. L. & Winkler, C. K. (1997). Representative forms and the visual ideograph: The Iwo Jima image in editorial cartoons. Quarterly Journal of Speech, 83, 289-310.
  11. ^ Moore, M. P. (1996). The cigarette as representative ideograph in the debate over environmental tobacco smoke. Communication Monographs, 64, 47-64.

1911 encyclopedia

Up to date as of January 14, 2010

From LoveToKnow 1911

IDEOGRAPH (Gr. tak, idea, and ypdcb€t y, to write), a symbol or character painted, written or inscribed, representing ideas and not sounds; such a form of writing is found in Chinese and in most of the Egyptian hieroglyphs (see Writing).

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