Tragic Plots: A New Reading from Aeschylus to LorcaAshgate, 2000 - 248 Seiten Rosslyn (English, U. of Leicester) traces the central stream of feeling in tragic drama across time and cultural barriers, particularly looking at what the audience needs expressed and what the artist does to meet that need. Though the plays themselves provide the evidence, and the plots reveal which problems the audience is most preoccupied with, she warns that scholars must be alive to the difference between what they say they are about, what they think they are about, and what audiences sense they really are about. The playwright, she says, may be as unclear as everyone else about the real motive for writing. Annotation copyrighted by Book News Inc., Portland, OR |
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Seite 120
... Othello ( c.1604 ) After Hamlet , we cannot help but be struck by the clarity of the plot of this play , and Shakespeare's firm handling of it . In Hamlet the theme emerged more by accident than design ; but the fact that Othello begins ...
... Othello ( c.1604 ) After Hamlet , we cannot help but be struck by the clarity of the plot of this play , and Shakespeare's firm handling of it . In Hamlet the theme emerged more by accident than design ; but the fact that Othello begins ...
Seite 125
... Othello to the last , even claiming that she killed herself . And the betrayal is hypothetical , in any case : it is not that Othello has been wronged , as Medea was so emphatically wronged by Jason , but only that he thinks he has ...
... Othello to the last , even claiming that she killed herself . And the betrayal is hypothetical , in any case : it is not that Othello has been wronged , as Medea was so emphatically wronged by Jason , but only that he thinks he has ...
Seite 127
... Othello fails to be concerned with his own relation to nature , while he is obsessively concerned with Desdemona's . ' Nature ' is the key word in Othello's exchanges with Iago ; and it is a vertiginous concept in relation to women ...
... Othello fails to be concerned with his own relation to nature , while he is obsessively concerned with Desdemona's . ' Nature ' is the key word in Othello's exchanges with Iago ; and it is a vertiginous concept in relation to women ...
Inhalt
Aeschylus | 9 |
Sophocles | 32 |
Euripides | 54 |
Urheberrecht | |
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Aegisthus Aeschylus Agamemnon Allmers Alving Antigone Aphrodite Apollo Apollonian Athenian Athens audience Bacchants becomes Bernarda blood body bonds brings characters Chekhov child classical Clytaemnestra consciousness context Coriolanus Creon crime daughters dead death Desdemona Dionysiac Dionysus drama earth Electra Eumenides Euripides Eyolf father Faustus fear Federico García Lorca feel female Furies Gayev gives goddess gods Greek Hamlet hero heroic Hippolytus honour horror human husband Iago Ibsen incest individual issue Jason justice killed kind king Lear Little Eyolf live Lorca Macbeth Machiavel male Marlowe marriage masculine means Medea mother murder nature never Nora Oedipus Oresteia Orestes Othello passion Pentheus perhaps Phaedra play plot polis punishment Renaissance repr revenge Rita role says scene seems sense sexual Shakespeare shows Sophocles Strindberg T.S. Eliot takes tell terrible Thebes things Torvald tragedy tragic trans truth wife woman women Yerma Zeus