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 83
... Pentheus , and shows in dazzling detail how the apparent power of the polis melts to nothing beside the real power of Nature . Indeed , the more civilization asserts its strength the more it subverts itself . In the first confrontation ...
... Pentheus , and shows in dazzling detail how the apparent power of the polis melts to nothing beside the real power of Nature . Indeed , the more civilization asserts its strength the more it subverts itself . In the first confrontation ...
Seite 92
... Pentheus , and the sense in which the city itself has been at war with the god from the first . Pentheus is embarking on ' a great ordeal ' - and somehow he already anticipates that the climax of this will not be his bringing his mother ...
... Pentheus , and the sense in which the city itself has been at war with the god from the first . Pentheus is embarking on ' a great ordeal ' - and somehow he already anticipates that the climax of this will not be his bringing his mother ...
Seite 93
... Pentheus is a hunter's problem in dismemberment only , and she cannot pull off his arm till she has her foot on his chest . His appeal to her as a mother marks the hopeless distance between them : the most tender and specific of ...
... Pentheus is a hunter's problem in dismemberment only , and she cannot pull off his arm till she has her foot on his chest . His appeal to her as a mother marks the hopeless distance between them : the most tender and specific of ...
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