Misplaced Pages

#356643

63-400: The "Page Op.", created in 1921 by Herbert Bayard Swope of The New York Evening World , is a possible precursor to the modern op-ed. When Swope took over as main editor in 1920, he opted to designate a page from editorial staff as "a catchall for book reviews, society boilerplate, and obituaries". Swope explained: "It occurred to me that nothing is more interesting than opinion when opinion

126-550: A Vanity Fair photo shoot with Madonna and had been a location for the 1978 shooting of The Greek Tycoon , a film on the life of Aristotle Onassis . Keith Richards ' family lived there for a time in the early 1980s. Charles Shipman Payson and his wife, Virginia Kraft, purchased the house in the 1980s. In 2005 she sold the house to developer Bert Brodsky of Port Washington for $ 17.5 million. "They misrepresented themselves", Payson told The Observer , "I would not show it to any developer. He said that his life's ambition

189-547: 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,

252-486: 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 the three artistic proofs or modes of persuasion alongside pathos and logos . It gives credit to

315-515: A concern. In 2011, in an open letter to  The New York Times , a group of U.S. journalists and academics called for conflict-of-interest transparency in op-eds. Critics of op-ed journalism argue that it can oversimplify complex issues and may introduce bias , especially when written by people affiliated with powerful interest groups , corporations, or political entities.  They argue that op-eds can become tools for misinformation , especially in today’s highly polarized media environment, due to

378-404: 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 the above violations of ethos is an informal fallacy ( Appeal to motive ). The argument may indeed be suspect; but

441-654: A series of articles that year entitled "Inside the German Empire" The articles formed the basis for a book released in 1917 entitled Inside the German Empire: In the Third Year of the War ( ISBN   9781436646178 ), which he co-authored with James W. Gerard . He is known for saying, "I can't give you a sure-fire formula for success, but I can give you a formula for failure: try to please everybody all

504-399: A seven-car garage, a tennis court with a tennis pavilion, a rose garden and a guest house – on 13.35 acres. The 20,000-square-foot (1,900 m ) waterfront mansion had originally been built for clothing merchant John S. Browning Sr. in 1911 and originally named Kidd's Rocks. It was purchased in 1921 by Malcolm D. Sloane, whose wife renamed the estate "Keewaydin". The house had been a site for

567-643: A similar designation in the 1950s and 1960s, while The Chicago Tribune had tried a variation of this format as early as 1912. That is to say that while we credit Oakes as the creator of the op-ed, the true origins of the op-ed are highly debated in the journalistic sphere. With the development and availability of radio and television broadcasting as major information outlets, stakeholders and print journalism workers sought to increase or maintain their audience and relevance. Major newspapers such as The New York Times and The Washington Post began including more opinionated journalism, adding more columns, and increasing

630-469: 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

693-440: 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,

SECTION 10

#1732780231357

756-501: 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

819-536: Is interesting, so I devised a method of cleaning off the page opposite the editorial, which became the most important in America ... and thereon I decided to print opinions, ignoring facts." The modern op-ed page was formally developed in 1970 under the direction of The New York Times editor John B. Oakes. Media scholar Michael J. Socolow writes of Oakes' innovation:   "The Times' effort synthesized various antecedents and editorial visions. Journalistic innovation

882-439: Is known for the diverse opinions of its columnists and can include media in a variety of forms including: Op-eds are written to persuade, inform, or incite public debate, with rhetoric playing a vital role in achieving these goals. Contributors invited to write an op-ed for an editorial commonly use appeals to ethos (credibility), pathos (emotion), and logos (logic) to structure their arguments and connect with readers. With

945-459: Is made. Op-eds are written by a wide range of authors, including journalists , academics, politicians , and activists . Publications invite guest contributors to present various viewpoints, despite the viewpoints often being contradictory to the editorial's position on certain topics. Today, op-eds are widely read across both traditional and digital platforms, and writers range from academics and activists to politicians and celebrities. The op-ed

1008-470: Is more interesting than opinion when opinion is interesting, so I devised a method of cleaning off the page opposite the editorial, which became the most important in America... and thereon I decided to print opinions, ignoring facts. He hired the widowed Consuela Sheridan (nee Frewen), the maternal cousin of Winston Churchill, as a roving reporter in Europe, and she landed many scoops including interviews with

1071-534: 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 was a rhetorical strategy employed by an orator whose purpose was to "inspire trust in his audience" ( Rhetorica 1380). Ethos

1134-423: 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

1197-418: 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 the speech has even begun (cf Isocrates ). According to Aristotle , there are three categories of ethos: In

1260-610: 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

1323-429: Is usually complex and typically involves multiple external factors. The Times op-ed page appeared in an era of democratizing cultural and political discourse and economic distress for the company itself." The newspaper's executives developed a place for outside contributors, with space reserved for sale at a premium rate for additional commentaries and other purposes. The Washington Post too published its own version of

SECTION 20

#1732780231357

1386-540: The Duke and Duchess of Windsor , Vivien Leigh and Laurence Olivier , Dorothy Parker , Harpo Marx , Winston Churchill , Averell Harriman , Albert Einstein , Alexander Woollcott – as well as F. Scott Fitzgerald . These associations, along with other similarities to the houses and events in The Great Gatsby , helped give rise to unsubstantiated reports that Fitzgerald had modeled Daisy Buchanan's home in

1449-551: 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

1512-563: 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

1575-541: 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 the agrarian ethos and the reception of...the ethos of rapid development". In rhetoric , ethos (credibility of

1638-552: The 1925 novel after Swope's home. However, Swope did not buy Land's End until late 1928. The more likely explanation that ties Swope to Fitzgerald is the time period of 1922–24, when Fitzgerald was living in nearby Great Neck . Prior to buying the Sands Point mansion, Swope had been renting a home since 1919 on East Shore Road in Great Neck, overlooking Manhasset Bay . The property was directly north of 325 East Shore Road,

1701-437: 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,

1764-454: 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

1827-420: 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

1890-428: 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

1953-588: The extent of their opinion pages to drive public participation and readership. This was exacerbated by the period, as world events like WWI , WWII , the Vietnam War , the Korean War , and major cultural changes began to make the public restless. Editors wanted to keep up readership as newspapers began to go belly up; they also needed to find new ways to compete with the versatility of TV and radio , which started to become commonplace in people’s homes. On

Op-ed - Misplaced Pages Continue

2016-526: 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

2079-615: The greatest reporter of his time by Lord Northcliffe of the London Daily Mail . Herbert Bayard Swope was born on January 5, 1882, in St. Louis , Missouri, to German immigrants Ida Cohn and Isaac Swope, a watchcase maker. He was the youngest of four children – the younger brother of businessman and General Electric president Gerard Swope . Swope was the first recipient of the Pulitzer Prize for Reporting in 1917 for

2142-439: The house perhaps two years after we sold it, and that's when I realized how he was going to get around the town's objections. Broken windows, storming in—it's sinful". In 2011, the home was demolished and the property was subdivided. Ethos Ethos ( / ˈ iː θ ɒ s / or US : / ˈ iː θ oʊ s / ) is a Greek word meaning 'character' that is used to describe the guiding beliefs or ideals that characterize

2205-403: 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

2268-542: The lack of rigorous editorial oversight. Herbert Bayard Swope Herbert Bayard Swope Sr. ( / ˈ b aɪ ɑːr d / ; January 5, 1882 – June 20, 1958) was an American editor , journalist and intimate of the Algonquin Round Table . Swope spent most of his career at the New York World . He was the first and three-time recipient of the Pulitzer Prize for Reporting . Swope was called

2331-547: The main owes both its birth and its growth to teaching [...] while moral virtue comes about as 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

2394-451: 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

2457-412: 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

2520-415: 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,

2583-521: The negotiating parties for Irish Independence. Swope served as the editor for New York World ' s 21-day crusade against the Ku Klux Klan in October 1921, which won the newspaper the Pulitzer Prize for Public Service in 1922. As an example of investigative journalism, it was ranked 81st of the top 100 journalism stories of the 20th century by New York University's journalism department. He

Op-ed - Misplaced Pages Continue

2646-496: 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 the behavior of politicians". Similarly the historian Orlando Figes wrote in 1996 that in Soviet Russia of

2709-491: The op-ed format. Platforms like HuffPost ,   Medium , and   Substack   allow virtually anyone to publish opinion pieces, which have been conflated with the op-ed to the point where the terms have become interchangeable. While they have always had a significant impact on public opinion, the digital age has allowed op-eds to influence the public more broadly and almost instantaneously. The relationship between op-eds, editors, and funding from interest groups has been

2772-523: The op-ed right before the New York Times debuted in September 1970. Significant differences between The Post's op-ed page and The Times’s op-ed page include The Washington Post having no ads and no artistic component. In the 1930s, The Washington Post began referring to its commentary section as the "op-ed page," situated opposite its editorial page.  The Los Angeles Times followed suit with

2835-411: The other hand, the general public wanted to have multiple points of view, as this time was also marked by a wave of liberalism , including the fight for gender equality and the civil rights movement . Op-eds feature a concise structure, with an average of under 700 words, and typically begin with an introduction. They begin with a hook to engage readers, usually something outlandish or exaggerated for

2898-442: 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

2961-495: 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

3024-407: 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

3087-455: 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

3150-623: 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

3213-520: The residence of sportswriter Ring Lardner . The two were good friends. David O. Selznick and Jock Whitney met at the home many times throughout the 20s and 30s and held meetings at the mansion that secured funding for Gone with the Wind . Other reports suggest the home, built in 1902, had been designed by Stanford White – although most sources dispute the claim. The clapboard colonial mansion included 15 bedrooms and 14 baths (eleven full baths),

SECTION 50

#1732780231357

3276-446: 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

3339-411: The rise of digital platforms, op-eds have expanded beyond traditional print media. Online publications and blogs have become popular, and social media plays a significant role in disseminating and engaging with op-ed content. Additionally, op-eds are increasingly presented in audio and video formats, reaching audiences through podcasts and video essays . The internet and social media have further evolved

3402-436: 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

3465-415: The shock factor. Then the author usually ties the intro together with a story related to them or an experience they had. Following this is the body, which has a tone that is usually persuasive and conversational, often divided into three or four sections, each presenting evidence or arguments supporting the thesis. They then tie the op-ed together with a conclusion or closing statement where a call to action

3528-425: 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 the concept to include expertise and knowledge. For the most part, this perspective of ethos

3591-414: 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 the root of ethikos ( ἠθικός ), meaning " morality , showing moral character". As an adjective in

3654-460: 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

3717-417: The time." He is also credited with coining the phrase " Cold War ". Although standard editorial pages have been printed by newspapers for many centuries, Swope established the first modern op-ed page in 1921. When he took over as editor in 1920, he realized that the page opposite the editorials was "a catchall for book reviews, society boilerplate, and obituaries." He wrote: It occurred to me that nothing

3780-853: Was a legendary poker player, at one point winning over $ 470,000 in a game with an oil baron, a steel magnate, and an entertainer. He was also a member of a social club, the precursor to the Algonquin Round Table known as the Thanatopsis Inside Straight and Pleasure Club. He was inducted into the Croquet Hall of Fame of the United States Croquet Association in 1979 and his son Herbert Bayard Swope, Jr. in 1981. Swope died in 1958, aged 76, at his home, known as Land's End, Prospect Point, Sands Point, New York . He hosted parties with

3843-681: 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 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

SECTION 60

#1732780231357

3906-408: 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

3969-423: Was to live in that manor, but it was very clear at the closing that they had no intention of living in it. They are the most awful people I have ever heard of, and that includes terrorists and dictators. They have taken a work of art and permitted it to be totally decimated. It was in pristine condition when I left ... He let it fall apart. He stripped everything out that he could sell, which is sacrilegious. I went by

#356643