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 21
... murder Clytemnestra in the spirit she murdered Agamemnon , of a literal exchange of blood for blood and body for body . Justice requires her death , but he does not delude himself that the deed is ' right ' . It feels in every way wrong ...
... murder Clytemnestra in the spirit she murdered Agamemnon , of a literal exchange of blood for blood and body for body . Justice requires her death , but he does not delude himself that the deed is ' right ' . It feels in every way wrong ...
Seite 24
... murder , the case is clear . Apollo then addresses the jury in defence of Orestes , and makes a series of points of increasing tendentiousness . He begins with the fact that avenging Agamemnon was Zeus's will , but he does not rest his ...
... murder , the case is clear . Apollo then addresses the jury in defence of Orestes , and makes a series of points of increasing tendentiousness . He begins with the fact that avenging Agamemnon was Zeus's will , but he does not rest his ...
Seite 150
... murder in his mind ; they are a foretaste of the terrible displacement he will experience after the murder when his ' single state of man ' is divided against itself for good . Although what Macbeth is imagining is monstrous ...
... murder in his mind ; they are a foretaste of the terrible displacement he will experience after the murder when his ' single state of man ' is divided against itself for good . Although what Macbeth is imagining is monstrous ...
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