Ethos pathos logos antigone

They are means of persuading others to believe a particular point of view.

Ethos pathos logos antigone

Current usage[ edit ] In modern usage, ethos denotes the disposition, character, or fundamental values particular to a specific person, people, corporation, culture, or movement.

For example, the poet and critic T. Eliot wrote in that "the general ethos of the people they have to govern determines the behaviour of politicians". For example, according to the Jewish historian Afrie Krampf, ideas of economic modernization which were imported into Palestine in the s brought about "the abandonment of the agrarian ethos and the reception of Ethos pathos logos antigone discussion may be found on the talk page.

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This can involve "moral competence" only; Aristotle however broadens the concept to include expertise and knowledge. Others however contend that a speaker's ethos extends to and is shaped by the overall moral character and history of the speaker—that is, what people think of his or her character before the speech has even begun cf Isocrates.

According to Aristotle Ethos pathos logos antigone, there are three categories of ethos: Thus, it is the audience that determines whether a speaker is a high- or a low-ethos speaker. Violations of ethos include: The speaker has a direct interest in the outcome of the debate e.

Completely dismissing an argument based on any of the above violations of ethos is an informal fallacy Appeal to motive. The argument may indeed be suspect; but is not, in itself, invalid. Modern interpretations[ edit ] This section may be in need of reorganization to comply with Wikipedia's layout guidelines.

Please help by editing the article to make improvements to the overall structure. June Learn how and when to remove this template message For Aristotle, a speaker's ethos was a rhetorical strategy employed by an orator whose purpose was to "inspire trust in his audience" Rhetorica Ethos was therefore achieved through the orator's "good sense, good moral character, and goodwill", and central to Aristotelian virtue ethics was the notion that this "good moral character" was increased in virtuous degree by habit Rhetorica Discussing women and rhetoric, scholar Karlyn Kohrs Campbell notes that entering the public sphere was considered an act of moral transgression for females of the nineteenth century: While Warner contends that members of counterpublics are afforded little opportunity to join the dominant public and therefore exert true agency, Nancy Fraser has problematized Habermas's conception of the public sphere as a dominant "social totality" [10] by theorizing "subaltern counterpublics", which function as alternative publics that represent "parallel discursive arenas where members of subordinated social groups invent and circulate counterdiscourses, which in turn permit them to formulate oppositional interpretations of their identities, interests, and needs" Johanna Schmertz draws on Aristotelian ethos to reinterpret the term alongside feminist theories of subjectivity, writing that, "Instead of following a tradition that, it seems to me, reads ethos somewhat in the manner of an Aristotelian quality proper to the speaker's identity, a quality capable of being deployed as needed to fit a rhetorical situation, I will ask how ethos may be dislodged from identity and read in such a way as to multiply the positions from which women may speak" Similarly, Nedra Reynolds and Susan Jarratt echo this view of ethos as a fluid and dynamic set of identifications, arguing that "these split selves are guises, but they are not distortions or lies in the philosopher's sense.

Rather they are 'deceptions' in the sophistic sense: Commenting further on the classical etymology and understanding of ethos, Halloran illuminates the interdependence between ethos and cultural context by arguing that "To have ethos is to manifest the virtues most valued by the culture to and for which one speaks" Karen Burke LeFevre's argument in Invention as Social Act situates this negotiation between the private and the public, writing that ethos "appears in that socially created space, in the 'between', the point of intersection between speaker or writer and listener or reader" However, Reynolds additionally discusses how one might clarify the meaning of ethos within rhetoric as expressing inherently communal roots.

This stands in direct opposition to what she describes as the claim "that ethos can be faked or 'manipulated'" because individuals would be formed by the values of their culture and not the other way around Rhetorical scholar John Oddo also suggests that ethos is negotiated across a community, and not simply a manifestation of the self In the era of mass-mediated communication, Oddo contends, one's ethos is often created by journalists and dispersed over multiple news texts.

With this in mind, Oddo coins the term intertextual ethos, the notion that a public figure's "ethos is constituted within and across a range of mass media voices" In "Black Women Writers and the Trouble with Ethos", scholar Coretta Pittman notes that race has been generally absent from theories of ethos construction, and that this concept is troubling for black women.

Pittman writes, "Unfortunately, in the history of race relations in America, black Americans' ethos ranks low among other racial and ethnic groups in the United States. More often than not, their moral characters have been associated with a criminalized and sexualized ethos in visual and print culture" These include the single unchanging scene, necessary use of the chorus, small number of characters limiting interaction, large outdoor theatres, and the use of masks, which all influenced characters to be more formal and simple.

One of these is the fact that tragedy characters were nearly always mythical characters.

Ethos pathos logos antigone

This limited the character, as well as the plot, to the already well-known myth from which the material of the play was taken. The other characteristic is the relatively short length of most Greek plays.

To support this, he points out the example of Antigone who, even though she strongly defies Creon in the beginning of the play, begins to doubt her cause and plead for mercy as she is led to her execution.Haemon is a skilled rhetorician, weaving the three persuasive appeals—logos, ethos, and pathos—into his plea for Antigone's life.

Haemon begins with a logos appeal—an appeal to reason. After. SPRING undergraduate courses-updated (click SPRING graduate courses-updated (click The Classics program offers an undergraduate major and minor in both the B.A.

and B.S. degrees. Students pursuing a major or minor in Classics study Latin and/or Ancient Greek, Ancient History, Mythology and Folklore, and Ancient Philosophy.

“Education is not the filling of a vessel, but the kindling of a flame.” Socrates

Pathos is a literary device that is used in persuasive circumstances to get something one desires. Pathos is used to appeal to the audience's emotions. Ethos is a literary device that is used in persuasive circumstances to get something one desires.

Ethos is used to convince an audience of the users. American Litearture AP English Literature Close Reading Fractured Fairy Tales High School English Reading Short Story The Simpsons. Day one handout. Speed Dating Prompts. speed-dating-directions. Day two handout 1.

Day two handout 2 The above material is from October ENGL Writing Strategies* (3 Hours). Prerequisites: Appropriate placement test score.

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Ethos, Pathos, and Logos in Antigone by Chloe Lennon on Prezi