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 27
... consciousness . The blunt facts of birth must be repressed to make possible the long journey towards the realm of conscious choice , where marriages are made - the supreme act of human individuation . Athena , born from her father's ...
... consciousness . The blunt facts of birth must be repressed to make possible the long journey towards the realm of conscious choice , where marriages are made - the supreme act of human individuation . Athena , born from her father's ...
Seite 114
... consciousness of a young avenger . The less Shakespeare can do with the Revenge plot at the level of action , the more brilliantly he invests in Hamlet's consciousness of his predicament . He writes monologues of astonishing length and ...
... consciousness of a young avenger . The less Shakespeare can do with the Revenge plot at the level of action , the more brilliantly he invests in Hamlet's consciousness of his predicament . He writes monologues of astonishing length and ...
Seite 116
... consciousness of an individual . But this is not all that makes the play so remarkable , for what the consciousness of a young male discovers is that the primary relation of ' Sonne ' remains , to a hampering degree . If there is a ...
... consciousness of an individual . But this is not all that makes the play so remarkable , for what the consciousness of a young male discovers is that the primary relation of ' Sonne ' remains , to a hampering degree . If there is a ...
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