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Pathos (/ ˈ p eɪ θ ɒ s /, US: / ˈ p eɪ θ oʊ s /; pl. pathea or pathê; Ancient Greek: πάθος, romanized: páthos, lit. ' suffering or experience ') appeals to the emotions and ideals of the audience and elicits feelings that already reside in them. [ 1 ]
Rather, pathos and emotion were self-determined and intrinsic to form. The example of several painterly renderings of Christ's expulsion of the moneylenders and his eventual resurrection demonstrate a consistent pathos, despite different artists and moments. This suggests a parallel "inner discovery" process embedded in thematic works.
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.
Also apophthegm. A terse, pithy saying, akin to a proverb, maxim, or aphorism. aposiopesis A rhetorical device in which speech is broken off abruptly and the sentence is left unfinished. apostrophe A figure of speech in which a speaker breaks off from addressing the audience (e.g., in a play) and directs speech to a third party such as an opposing litigant or some other individual, sometimes ...
The book is in three sections, Form and Structure, Artists’ Voices, and Selected Narrative Forms. She begins with a detailed section Terminology Across Time : Poetry Films, Film Poems [7] and Video Poems / Videopoems which explores and analyses the form across the history of cinema from the early 1900s. Tremlett then moves on, to the voices ...
The Big Lebowski (1998) - Directors: Joel Coen, Ethan Coen - IMDb user rating: 8.1 - Run time: 117 minutes "The Dude abides" is perhaps one of the most famous quotes in all of cinema history ...
Film critics sometimes use the term "pejoratively to connote an unrealistic, pathos-filled, camp tale of romance or domestic situations with stereotypical characters (often including a central female character) that would directly appeal to feminine audiences". [20] Also called "women's movies", "weepies", tearjerkers, or "chick flicks".
As a term for the combination of the very high with the very low, bathos was introduced by Alexander Pope in his essay Peri Bathous, Or the Art of Sinking in Poetry (1727). ). On the one hand, Pope's work is a parody in prose of Longinus's Peri Hupsous (On the Sublime), in that he imitates Longinus's system for the purpose of ridiculing contemporary poets, but, on the other, it is a blow Pope ...