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 52
... death . The analyst of Indo - European languages , Emile Benveniste , comments on the two - faced nature of the sacred , as in the Latin sacer , ' consecrated to god and affected with an ineradicable pollution , august and accursed ...
... death . The analyst of Indo - European languages , Emile Benveniste , comments on the two - faced nature of the sacred , as in the Latin sacer , ' consecrated to god and affected with an ineradicable pollution , august and accursed ...
Seite 118
... death . He seems to treat her , in the words of the famous sonnet on lust , as ' a swallowed bait / On purpose laid to make the taker mad ' ( 129.7-8 ) . But Hamlet will refuse the bait , and in defiance of human nature , he will not ...
... death . He seems to treat her , in the words of the famous sonnet on lust , as ' a swallowed bait / On purpose laid to make the taker mad ' ( 129.7-8 ) . But Hamlet will refuse the bait , and in defiance of human nature , he will not ...
Seite 129
... death , without analysing its causes , is a sharp reminder of how wisely the classical tradition kept death offstage , where its meaning could be analysed with no danger of overwhelming the audience . For the implication in Othello's ...
... death , without analysing its causes , is a sharp reminder of how wisely the classical tradition kept death offstage , where its meaning could be analysed with no danger of overwhelming the audience . For the implication in Othello's ...
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