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Pathos (plural: pathea) is an appeal to the audience's emotions. [6]: 42 The terms sympathy, pathetic, and empathy are derived from it. It can be in the form of metaphor, simile, a passionate delivery, or even a simple claim that a matter is unjust. Pathos can be particularly powerful if used well, but most speeches do not solely rely on pathos.
Pathos is a term most often used in rhetoric (in which it is considered one of the three modes of persuasion, alongside ethos and logos), as well as in literature, film and other narrative art. Methods
A speaker supports the probability of a message by logical, ethical, and emotional proofs. Aristotle identifies three steps or "offices" of rhetoric—invention, arrangement, and style—and three different types of rhetorical proof: [70]: I.2 ethos
Hermeneutics – the theoretical underpinnings of interpreting texts, usually religious or literary. Heteroglossia – the use of a variety of voices or styles within one literary work or context. Homeoteleuton – a figure of speech where adjacent or parallel words have similar endings inside a verse, a sentence. Authors often use it to evoke ...
The original version includes only three points: the writer/speaker (ethos), the audience (pathos), and the message itself (logos). All the points affect one another, so mastering each creates a persuasive rhetorical stance. [9] The rhetorical tetrahedron carries those three points along with context. Context can help explain the "why" and "how ...
Ethos is the appeal to ethics or integrity. Pathos is the appeal to emotions; Logos is the appeal to logic or reason [26] These techniques are a technical skill learned and utilized by visual communication designer's today, such as in the field of advertising. Each of these methods of appeal have the ability to influence their audience in ...
[6] Inventio is linked with logos such that it deals with what an author would say as opposed to how it might be said. [8] Aristotle defined ethos as an appeal based on a speaker's character within a persuasive act. Later, the Roman rhetorician Cicero expanded this definition to contain elements of character outside a particular rhetorical act. [9]
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