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 |
Im Buch
Ergebnisse 1-3 von 51
Seite 97
... drama reveal the same preoccupations ? But to find a group of comparable dramas we have to leap two millennia , to the Renaissance . This raises questions about the conditions for tragedy we might briefly explore . Why , in the history ...
... drama reveal the same preoccupations ? But to find a group of comparable dramas we have to leap two millennia , to the Renaissance . This raises questions about the conditions for tragedy we might briefly explore . Why , in the history ...
Seite 98
... drama or tragic emotion ; and the fact that he writes under a tyranny suggests one more factor in the rarity of tragic drama . The subject matter of Greek drama , we began by saying , is in some sense the by - product of democracy ; and ...
... drama or tragic emotion ; and the fact that he writes under a tyranny suggests one more factor in the rarity of tragic drama . The subject matter of Greek drama , we began by saying , is in some sense the by - product of democracy ; and ...
Seite 219
... drama its potency . It is significant that babies are not an issue for Lawrentian heroines , and neither are their obligations to parents or the outside world ; in Women in Love ( 1921 ) the bonds with wider society cease to be felt at ...
... drama its potency . It is significant that babies are not an issue for Lawrentian heroines , and neither are their obligations to parents or the outside world ; in Women in Love ( 1921 ) the bonds with wider society cease to be felt at ...
Inhalt
Aeschylus | 9 |
Sophocles | 32 |
Euripides | 54 |
Urheberrecht | |
6 weitere Abschnitte werden nicht angezeigt.
Andere Ausgaben - Alle anzeigen
Häufige Begriffe und Wortgruppen
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