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 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 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 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 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). Character in Greek tragedy The ways in which characters were constructed is important when considering ethos, or character, in Greek tragedy. Augustus Taber Murray explains that 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 the makeup of the characters. One of these