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50-530: The museum hosts the work of famous type designers like Rudolf Koch , Otto Eckmann , Peter Behrens , Walter Tiemann , Rudo Spemann , Imre Reiner , Hans Bohn , Karlgeorg Hoefer , Ernst Schneidler , Werner Bunz and Georg Trump . Paul Ritter donated his collection of Frans Masereel to the museum. Many works from other printing collections such as the Acorn Press, Bremer Presse, Cranach Presse, Doves Press, Edition Tiessen, Ernst Engel Presse (to name

100-547: A certain objective from the beginning of the play. However, Murray clarifies that strict constancy is not always the rule in Greek tragedy characters. To support this, he points out the example of Antigone who, even though she strongly defies Creon at the beginning of the play, begins to doubt her cause and plead for mercy as she is led to her execution. Several other aspects of the character element in ancient Greek tragedy are worth noting. One of these, which C. Garton discusses,

150-502: A character's habit as well (The Essential Guide to Rhetoric, 2018). The person's character is related to a person's habits (The Essential Guide to Rhetoric, 2018). Aristotle links virtue, habituation, and ethos most succinctly in Book II of Nicomachean Ethics : "Virtue, then, being of two kinds, intellectual and moral, intellectual virtue in the main owes both its birth and its growth to teaching [...] while moral virtue comes about as

200-561: A few), are in the collection of the museum. The library is open for visitors and holds several exhibitions each year. 50°06′28″N 8°45′40″E  /  50.10778°N 8.76111°E  / 50.10778; 8.76111 This article about a museum in Germany is a stub . You can help Misplaced Pages by expanding it . This article about a Hesse building or structure is a stub . You can help Misplaced Pages by expanding it . Rudolf Koch Rudolf Koch (20 November 1876 – 9 April 1934)

250-694: A principle deeply rooted in the Arts and Crafts Movement. Yet Koch was working in a period of rapid development in print technology, which saw the invention of the Linotype machine in 1886, the Monotype System in 1887, and the offset press in 1907, all of which were antithetical to his artisanal ethos . Koch lectured at the Arts and Crafts School in Offenbach. In 1918, after World War I , he opened

300-451: A result of habit, whence also its name ethike is one that is formed by a slight variation from the word ethos (habit)" (952). 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: "Women who formed moral reform and abolitionist societies, and who made speeches, held conventions, and published newspapers, entered

350-469: A speaker's or writer's durable position of authority in the world; invented ethos relies more on the immediate circumstances of the rhetorical situation. Ethos, or character, also appears in the visual art of famous or mythological ancient Greek events in murals, on pottery, and sculpture referred to generally as pictorial narrative. Aristotle even praised the ancient Greek painter Polygnotos because his paintings included characterization. The way in which

400-572: A style that originated in Germany. Known also for his nationalistic ideology, he wrote in Der Deutsche , "Even as a boy I wanted to become a proper real German. I hated anything that was foreign, and even as I was growing up I felt this was a sign of true loyalty." Koch frequently defended Germanic blackletter script in the journals and publications he contributed to. He also held exhibitions with his group Offenbach Schreiber, which promoted hand lettering and calligraphy, and in these, he expressed

450-440: A unified identity that is similar to human nature is usually fulfilled. Thirdly, characters in tragedies include incongruities and idiosyncrasies. Another aspect stated by Garet is that tragedy plays are composed of language, character, and action, and the interactions of these three components; these are fused together throughout the play. He explains that action normally determines the major means of characterization. For example,

500-501: A way as to multiply the positions from which women may speak" (83). Rhetorical scholar and Kate Ronald's claim that "ethos is the appeal residing in the tension between the speaker's private and public self", (39) also presents a more postmodern view of ethos that links credibility and identity. 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

550-407: A workshop training students in typography , calligraphy , wood-cutting, and other crafts. Best known for his calligraphic talent he built upon the calligraphic tradition by creating an original, simple expression from his materials. Many of Koch's blackletter typefaces, such as Kochschrift and Willhelm Klingspor Gotisch, were greatly influenced by hand-written manuscripts and Gothic letterforms,

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600-423: Is the fact that either because of contradictory action or incomplete description, the character cannot be viewed as an individual, or the reader is left confused about the character. One method of reconciling this would be to consider these characters to be flat, or type-cast, instead of round. This would mean that most of the information about the character centers around one main quality or viewpoint. Comparable to

650-665: 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" (43). The ways in which characters were constructed is important when considering ethos, or character, in Greek tragedy . Augustus Taber Murray explains that

700-452: Is used to describe the guiding beliefs or ideals that characterize a community, nation, or ideology ; and the balance between caution and passion. The Greeks also used this word to refer to the power of music to influence emotions, behaviors, and even morals . Early Greek stories of Orpheus exhibit this idea in a compelling way. The word's use in rhetoric is closely based on the Greek terminology used by Aristotle in his concept of

750-793: The Academy of Fine Arts, Nuremberg . Between 1897 and 1906, he worked for various businesses in the book trade in Leipzig , illustrating and designing book covers in the Art Nouveau style that was popular at the time. In 1906, Koch began working for the Rudhard Type foundry in Offenbach , later known as the Klingspor Type foundry . Other notable designers who worked for the foundry include Otto Eckmann and Peter Behrens . Koch

800-502: The Dover Pictorial Archive Series). Hermann Zapf was a huge admirer of Koch, and took great inspiration from his work after acquiring a copy of his book Das Schreiben als Kunstfertigkeit (Writing as a Skill) . Koch's first non-blackletter typeface was the delicate roman Koch-Antiqua , a display face with a low x-height . Its oblique features inline capitals in the larger sizes, an idea inspired by

850-551: 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" (60). While scholars do not all agree on the dominant sphere in which ethos may be crafted, some agree that ethos is formed through the negotiation between private experience and the public, rhetorical act of self-expression. Karen Burke LeFevre's argument in Invention as Social Act situates this negotiation between

900-563: The self (47). 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" (48). 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

950-521: The above violations of ethos is an informal fallacy ( Appeal to motive ). The argument may indeed be suspect; but is not, in itself, invalid. Although Plato never uses the term "ethos" in his extant corpus; scholar Collin Bjork, a communicator, podcaster, and digital rhetorician, argues that Plato dramatizes the complexity of rhetorical ethos in the Apology of Socrates . For Aristotle, a speaker's ethos

1000-443: The agrarian ethos and the reception of...the ethos of rapid development". In rhetoric , ethos (credibility of the speaker) is one of the three artistic proofs ( pistis , πίστις) or modes of persuasion (other principles being logos and pathos ) discussed by Aristotle in ' Rhetoric ' as a component of argument. Speakers must establish ethos from the start. This can involve "moral competence" only; Aristotle, however, broadens

1050-599: The behavior of politicians". Similarly the historian Orlando Figes wrote in 1996 that in Soviet Russia of the 1920s "the ethos of the Communist party dominated every aspect of public life". Ethos may change in response to new ideas or forces. For example, according to the Jewish historian Arie Krampf, ideas of economic modernization which were imported into Palestine in the 1930s brought about "the abandonment of

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1100-437: The character cannot exist without plot, and so the character is secondary to the plot. Murray maintains that Aristotle did not mean that complicated plot should hold the highest place in a tragedy play. This is because the plot was, more often than not, simple and therefore not a major point of tragic interest. Murray conjectures that people today do not accept Aristotle's statement about character and plot because to modern people,

1150-454: The character's choice, the pictorial narrative often shows an earlier scene than when the action was committed. Stansbury-O'Donnell gives an example of this in the form of a picture by the ancient Greek artist Exekia which shows the Greek hero Ajax planting his sword in the ground in preparation to commit suicide, instead of the actual suicide scene (Stansbury-O'Donnell, p. 177). Additionally, Castriota explains that ancient Greek art expresses

1200-420: The concept of persona has emerged from the literary tradition, and is associated with a theatrical mask. Roger Cherry explores the distinctions between ethos and pathos to mark the distance between a writer's autobiographical self and the author's discursive self as projected through the narrator. The two terms also help to refine distinctions between situated and invented ethos. Situated ethos relies on

1250-401: The concept to include expertise and knowledge. For the most part, this perspective of ethos is the one discussed the most by schools and universities. Ethos is limited, in his view, by what the speaker says. 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

1300-428: The depiction of a character was limited by the circumstances under which Greek tragedies were presented. 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. Murray also declares that the inherent characteristics of Greek tragedies are important in

1350-526: The flat character option, the reader could also view the character as a symbol. Examples of this might be the Eumenides as vengeance, or Clytemnestra as symbolizing ancestral curse. Yet another means of looking at character, according to Tycho von Wilamowitz and Howald, is the idea that characterization is not important. This idea is maintained by the theory that the play is meant to affect the viewer or reader scene by scene, with attention being only focused on

1400-403: The influence that such ethical representation may exert upon the public". Castriota also explains that according to Aristotle, "[t]he activity of these artists is to be judged worthy and useful above all because exposure of their work is beneficial to the polis ". Accordingly, this was the reason for the representation of character, or ethos, in public paintings and sculptures. In order to portray

1450-451: The makeup of the characters. One of these is the fact that tragedy characters were nearly always mythical characters. 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. This limited the scope of the play and characterization so that the characters were defined by one overriding motivation toward

1500-412: 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 (336). Rhetorical scholar John Oddo also suggests that ethos is negotiated across a community and not simply a manifestation of

1550-415: The most memorable things about tragedy plays are often the characters. However, Murray does concede that Aristotle is correct in that "[t]here can be no portrayal of character [...] without at least a skeleton outline of plot". One other term frequently used to describe the dramatic revelation of character in writing is " persona ". While the concept of ethos has traveled through the rhetorical tradition,

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1600-442: The philosopher's sense. Rather they are 'deceptions' in the sophistic sense: recognition of the ways one is positioned multiply differently" (56). Rhetorical scholar Michael Halloran has argued that the classical understanding of ethos "emphasizes the conventional rather than the idiosyncratic , the public rather than the private" (60). Commenting further on the classical etymology and understanding of ethos , Halloran illuminates

1650-495: The play Julius Caesar, is a good example for a character without credibility, Brutus. Another principle he states is the importance of these three components' effect on each other; the important repercussion of this being character's impact on action. Augustus Taber Murray also examines the importance and degree of interaction between plot and character. He does this by discussing Aristotle's statements about plot and character in his Poetics: that plot can exist without character, but

1700-407: 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" (45–46). According to Nedra Reynolds, "ethos, like postmodern subjectivity , shifts and changes over time, across texts, and around competing spaces" (336). However, Reynolds additionally discusses how one might clarify

1750-455: The public sphere and thereby lost their claims to purity and piety " (13). Crafting an ethos within such restrictive moral codes, therefore, meant adhering to membership of what Nancy Fraser and Michael Warner have theorized as counter publics. While Warner contends that members of counter publics are afforded little opportunity to join the dominant public and therefore exert true agency, Nancy Fraser has problematized Habermas 's conception of

1800-623: The public sphere as a dominant "social totality" by theorizing "subaltern counter publics", 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" (67). Though feminist rhetorical theorists have begun to offer ways of conceiving of ethos that are influenced by postmodern concepts of identity, they remain cognizant of how these classical associations have shaped and still do shape women's use of

1850-570: The revival of traditional lettering. Koch worked closely with bookbinder Ignatz Wiemeler , and together they created the "Offenbach Typography Style" of bookbindings. Koch's dedication to Gothic script may have limited his recognition in English-speaking countries. His work was also part of the painting event in the art competition at the 1928 Summer Olympics . Koch wrote a book containing 493 old-world symbols, monograms, and runes entitled The Book of Signs (reprinted in 1955, in

1900-446: The rhetorical tool. 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

1950-425: The root of ethikos ( ἠθικός ), meaning " morality , showing moral character". As an adjective in the neuter plural form ta ethika. In modern usage, ethos denotes the disposition, character, or fundamental values peculiar to a specific person, people, organization, culture, or movement. For example, the poet and critic T. S. Eliot wrote in 1940 that "the general ethos of the people they have to govern determines

2000-462: The same year. The differences between the two typefaces are most noticeable in Kabel's far-reaching terminal on the 'a' and the 'e', as well as the slanted crossbar and the loop of the 'g'. Typefaces designed by Koch include: Some of Koch's most well known works include: Ethos Ethos ( / ˈ iː θ ɒ s / or US : / ˈ iː θ oʊ s / ) is a Greek word meaning 'character' that

2050-436: The section at hand. This point of view also holds that the different figures in a play are only characterized by the situation surrounding them, and only enough so that their actions can be understood. Garet makes three more observations about a character in Greek tragedy. The first is an abundant variety of types of characters in Greek tragedy. His second observation is that the reader or viewer's need for characters to display

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2100-401: The speech has even begun (cf Isocrates ). According to Aristotle , there are three categories of ethos: In a sense, ethos does not belong to the speaker but to the audience and it's appealing to the audience's emotions. Thus, it is the audience that determines whether a speaker is a high- or a low-ethos speaker. Violations of ethos include: Completely dismissing an argument based on any of

2150-460: The subject and his actions are portrayed in visual art can convey the subject's ethical character and through this the work's overall theme, just as effectively as poetry or drama can. This characterization portrayed men as they ought to be, which is the same as Aristotle's idea of what ethos or character should be in tragedy. (Stansbury-O'Donnell, p. 178) Mark D. Stansbury-O'Donnell states that pictorial narratives often had ethos as its focus, and

2200-416: The three artistic proofs or modes of persuasion alongside pathos and logos . It gives credit to the speaker, or the speaker is taking credit. Ethos ( ἦθος , ἔθος ; plurals: ethe , ἤθη ; ethea , ἤθεα ) is a Greek word originally meaning "accustomed place" (as in ἤθεα ἵππων "the habitats of horses/", Iliad 6.511, 15.268), "custom, habit", equivalent to Latin mores . Ethos forms

2250-474: The traditions of blackletter capitals. Koch designed the Neuland typeface in 1923. Taking a more experimental turn, the typeface counterpoints his preferred traditional style with a more contemporary feel. Dr Klingspor called it "unbearably ugly", despite its great commercial success. Koch introduced his first sans-serif typeface, Kabel , in 1927, which is similar to Paul Renner 's Futura , designed

2300-552: Was a German type designer, professor, and a master of lettering, calligraphy , typography and illustration . Commonly known for his typefaces created for the Klingspor Type Foundry , his most widely used typefaces include Neuland and Kabel . Koch spent his teenage years working in Hanau as an apprentice in a metal goods workshop, whilst also attending art school, where he learned to draw, and soon after went to

2350-405: Was a rhetorical strategy employed by an orator whose purpose was to "inspire trust in his audience" ( Rhetorica 1380). 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 1380). Ethos also is related to

2400-462: Was deeply spiritual and a devout Lutheran , spending much of his time working on religious publications and manuscripts, of which he completed nearly a hundred in his lifetime. Koch viewed the alphabet as humanity's ultimate achievement. He died prematurely of a heart attack in 1934, aged 57. Koch greatly admired William Morris . Speaking at a meeting in London, he expressed his disbelief that Morris

2450-470: Was not of German descent: "I feel such a closeness to him that I always have the feeling that he cannot be an Englishman, he must be a German." The teachings of Morris and the Arts and Crafts Movement are evident in Koch's use of hand-lettering and wood-cutting techniques. At the same time, his book illustrations are evocative of Art Nouveau . Koch prized craftsmanship in his type design and printing methods,

2500-408: Was therefore concerned with showing the character's moral choices. (Stansbury-O'Donnell, p. 175) David Castriota, agreeing with Stansbury-O'Donnell's statement, says that the main way Aristotle considered poetry and visual arts to be on equal levels was in character representation and its effect on action. However, Castriota also maintains about Aristotle's opinion that "his interest has to do with

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