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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
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.
Japanese woodblock print showcasing transience, precarious beauty, and the passage of time, thus "mirroring" mono no aware [1] Mono no aware (物の哀れ), [a] lit. ' the pathos of things ', and also translated as ' an empathy toward things ', or ' a sensitivity to ephemera ', is a Japanese idiom for the awareness of impermanence (無常, mujō), or transience of things, and both a transient ...
[3] [4] The Greek word pathos was a wide-ranging term indicating an infliction one suffers. [3] The Stoics used the word to discuss generic emotions such as anger, fear and joy. [3] The word passion is often used as a translation of pathos so as not to suggest that the Stoics wanted to be rid of all feeling. [5]
In modern times [15] "sentimental" is a pejorative term that has been casually applied to works of art and literature that exceed the viewer or reader's sense of decorum—the extent of permissible emotion—and standards of taste: "excessiveness" is the criterion; [16] "Meretricious" and "contrived" sham pathos are the hallmark of sentimentality, where the morality that underlies the work is ...
For example, when a person is unhinged by grief, the clouds might seem darker than they are, or perhaps mournful or uncaring. [ 6 ] [ 7 ] The word "fallacy" in modern usage refers primarily to an example of flawed reasoning, but for Ruskin and writers of the 19th century and earlier, fallacy could be used to mean simply a "falseness". [ 8 ]
A rhetorical situation is an event that consists of an issue, an audience, and a set of constraints. A rhetorical situation arises from a given context or exigence. An article by Lloyd Bitzer introduced the model of the rhetorical situation in 1968, which was later challenged and modified by Richard E. Vatz (1973) and Scott Consigny (1974).
Because circulating libraries often used catalogues that only listed a novel's name, Austen chose titles that would have resonance for her readers; abstract comparisons like "sense and sensibility" were part of a moralistic tradition and eponymous heroine names were part of a new romantic novel tradition. [51]