BiblioVault - Books about Ethos

Errant Modernism: The Ethos of Photography in Mexico and Brazil
Esther Gabara
Duke University Press, 2008
Library of Congress TR28.G33 2008 | Dewey Decimal 770.981

Making a vital contribution to the understanding of Latin American modernism, Esther Gabara rethinks the role of photography in the Brazilian and Mexican avant-garde movements of the 1920s and 1930s. During these decades, intellectuals in Mexico and Brazil were deeply engaged with photography. Authors who are now canonical figures in the two countries’ literary traditions looked at modern life through the camera in a variety of ways. Mário de Andrade, known as the “pope” of Brazilian modernism, took and collected hundreds of photographs. Salvador Novo, a major Mexican writer, meditated on the medium’s aesthetic potential as “the prodigal daughter of the fine arts.” Intellectuals acted as tourists and ethnographers, and their images and texts circulated in popular mass media, sharing the page with photographs of the New Woman. In this richly illustrated study, Gabara introduces the concept of a modernist “ethos” to illuminate the intertwining of aesthetic innovation and ethical concerns in the work of leading Brazilian and Mexican literary figures, who were also photographers, art critics, and contributors to illustrated magazines during the 1920s and 1930s.

Gabara argues that Brazilian and Mexican modernists deliberately made photography err: they made this privileged medium of modern representation simultaneously wander and work against its apparent perfection. They flouted the conventions of mainstream modernism so that their aesthetics registered an ethical dimension. Their photographic modernism strayed, dragging along the baggage of modernity lived in a postcolonial site. Through their “errant modernism,” avant-garde writers and photographers critiqued the colonial history of Latin America and its twentieth-century formations.

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The Ethos of a Late-Modern Citizen
Stephen K. White
Harvard University Press, 2009
Library of Congress JF801.W53 2009 | Dewey Decimal 323.601

In The Ethos of a Late-Modern Citizen, Stephen K. White contends that Western democracies face novel challenges demanding our reexamination of the role of citizens. Such reflection involves our neither denying, in the name of tradition, the force of what is new, nor imagining that we can adequately confront change by simply rejecting the traditions of modern Western political thought. White offers an incisive interpretation of our late-modern ethical-political condition and explains how a distinctive “ethos,” or spirit, of citizenship might constitute part of an exemplary response. This ethos requires reworking basic figures of the modern political imagination, including our conception of the self, citizenship, and democratic politics.Essentially, White argues that the intense focus in the past three decades on finding general principles of justice for diversity-rich societies needs to be complemented by an exploration of what sort of ethos would be needed to adequately sustain any such principles. He proposes that Western citizens adopt an ethos that is defined by such virtues as (moral) attentiveness, self-restraint, and existential gratitude. Accessible, pithy, and erudite, The Ethos of a Late-Modern Citizen will appeal to a wide audience.

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The Ethos of Drama: Rhetorical Theory and Dramatic Worth
Robert L. King
Catholic University of America Press, 2010
Library of Congress PR625.K57 2010 | Dewey Decimal 822.009

For the first time in the history of drama criticism this book uses traditional rhetorical theory to evaluate moral values in plays from Shakespeare's time to the present

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The Ethos of Noh: Actors and Their Art
Eric C. Rath
Harvard University Press

Since the inception of the noh drama six centuries ago, actors have resisted the notion that noh rests on natural talent alone. Correct performance, they claim, demands adherence to traditions. Yet what constitutes noh's traditions and who can claim authority over them have been in dispute throughout its history. This book traces how definitions of noh, both as an art and as a profession, have changed over time. The author seeks to show that the definition of noh as an art is inseparable from its definition as a profession.

The aim of this book is to describe how memories of the past become traditions, as well as the role of these traditions in the institutional development of the noh theater from its beginnings in the fourteenth century through the late twentieth century. It focuses on the development of the key traditions that constitute the "ethos of noh," the ideology that empowered certain groups of actors at the expense of others, and how this ethos fostered noh's professionalization--its growth from a loose occupation into a closed, regulated vocation. The author argues that the traditions that form the ethos of noh, such as those surrounding masks and manuscripts, are the key traits that define it as an art.

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Ethos Of Pluralization
William Connolly
University of Minnesota Press, 1995
Library of Congress HM276.C67 1995 | Dewey Decimal 321.8

The Ethos of Romance at the Turn of the Century
By William J. Scheick
University of Texas Press, 1994
Library of Congress PR878.R7S34 1994 | Dewey Decimal 823.0850908

The romance genre was a popular literary form among writers and readers in the nineteenth and early twentieth centuries, but since then it has often been dismissed as juvenile, unmodern, improper, or subversive. In this study, William J. Scheick seeks to recover the place of romance in fin-de-siècle England and America; to distinguish among its subgenres of eventuary, aesthetic, and ethical romance; and to reinstate ethical romance as a major mode of artistic expression.

Scheick argues that the narrative maneuvers of ethical romance dissolve the boundary between fiction and fact. In contrast to eventuary romances, which offer easily consumed entertainment, or aesthetic romances, which urge upon readers a passive appreciation of a wondrous work of art, ethical romances potentially disorient and reorient their readers concerning some metaphysical insight hidden within the commonplace. They prompt readers to question what is real and what is true, and to ponder the wonder of life and the text of the self, there to detect what the reader might do in the art of his or her own life

The authors whose works Scheick discusses are Nathaniel Hawthorne, H. Rider Haggard, Henry James, C. J. Cutcliffe Hyne, H. G. Wells, John Kendrick Bangs, Gilbert K. Chesterton, Richard Harding Davis, Stephen Crane, Mary Austin, Jack London, Robert Louis Stevenson, Mary Cholmondeley, and Rudyard Kipling. This wide selection expands the canon to include writers and works that highly merit re-reading by a new generation.

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Image Makers: Advertising, Public Relations, and the Ethos of Advocacy
Robert Jackall and Janice M. Hirota
University of Chicago Press, 2000
Library of Congress HF5813.U6J33 2000 | Dewey Decimal 659.0973

Talking dogs pitching ethnic food. Heart-tugging appeals for contributions. Recruitment calls for enlistment in the military. Tub-thumpers excoriating American society with over-the-top rhetoric. At every turn, Americans are exhorted to spend money, join organizations, rally to causes, or express outrage. Image Makers is a comprehensive analysis of modern advocacy-from commercials to public service ads to government propaganda-and its roots in advertising and public relations.

Robert Jackall and Janice M. Hirota explore the fashioning of the apparatus of advocacy through the stories of two organizations, the Committee on Public Information, which sold the Great War to the American public, and the Advertising Council, which since the Second World War has been the main coordinator of public service advertising. They then turn to the career of William Bernbach, the adman's adman, who reinvented advertising and grappled creatively with the profound skepticism of a propaganda-weary midcentury public. Jackall and Hirota argue that the tools-in-trade and habits of mind of "image makers" have now migrated into every corner of modern society. Advocacy is now a vocation for many, and American society abounds as well with "technicians in moral outrage," including street-smart impresarios, feminist preachers, and bombastic talk-radio hosts.

The apparatus and ethos of advocacy give rise to endlessly shifting patterns of conflicting representations and claims, and in their midst Image Makers offers a clear and spirited understanding of advocacy in contemporary society and the quandaries it generates.

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Myth, Ethos, and Actuality: Official Art in Fifth Century B.C. Athens
David Castriota
University of Wisconsin Press, 1992
Library of Congress N5630.C38 1992 | Dewey Decimal 709.385

Using material remains, as well as the evidence of contemporary Greek history, rhetoric, and poetry, David Castriota interprets the Athenian monuments as vehicles of an official ideology intended to celebrate and justify the present in terms of the past.

Castriota focuses on the strategy of ethical antithesis that asserted Greek moral superiority over the “barbaric” Persians, whose invasion had been repelled a generation earlier. He examines how, in major public programs of painting and sculpture, the leading artists of the period recast the Persians in the guise of wild and impious mythic antagonists to associate them with the ethical flaws or weaknesses commonly ascribed to women, animals, and foreigners. The Athenians, in contrast, were compared to mythic protagonists representing the excellence and triumph of Hellenic culture.

Castriota’s study is innovative in emphasizing the ethical implication of mythic precedents, which required substantial alterations to render them more effective as archetypes for the defense of Greek culture against a foreign, morally inferior enemy. The book looks in new ways at how the patrons and planners sought to manipulate viewer response through the selective presentation or repackaging of mythic traditions.

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Sexuality and the Politics of Ethos in the Writing Classroom
Zan Meyer Goncalves
Southern Illinois University Press, 2006
Library of Congress PE1404.G643 2005 | Dewey Decimal 808.042071

Applying the complexities of literacy development and personal ethos to the teaching of composition, Zan Meyer Goncalves challenges writing teachers to consider ethos as a series of identity performances shaped by the often-inequitable social contexts of their classrooms and communities. Using the rhetorical experiences of students who identify as lesbian, gay, bisexual, and/or transgender, she proposes a new way of thinking about ethos that addresses the challenges of social justice, identity, and transfer issues in the classroom.

Goncalves offers an innovative approach to teaching identity performance theory bound by social contexts. She applies this new approach to theories of specificity and intersectionality, illustrating how teachers can help students redefine the relationship between their social identities and their writing. She also addresses bringing social activism and identity politics into the classroom, helping writers make transfers across rhetorical contexts and linking students' interests to public conversations.

Theoretical and practical, Sexuality and the Politics of Ethos in the Writing Classroom provides teachers of first-year and advanced composition studies with useful, detailed assignments based in specific identity performance. Goncalves offers techniques to subvert oppressive language practices, while encouraging students to recognize themselves as writers, citizens, and active participants in their own educations and communities.

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