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 80
... play seems to say , it is ' that most hated Goddess ' , Aphrodite . Bacchae ( 405 BCE ) In this late play , staged only after his death , Euripides brings the paradox of humanity's dual nature into the boldest focus and differentiates ...
... play seems to say , it is ' that most hated Goddess ' , Aphrodite . Bacchae ( 405 BCE ) In this late play , staged only after his death , Euripides brings the paradox of humanity's dual nature into the boldest focus and differentiates ...
Seite 114
... play ( 3.3.36–72 ) - but it is not supplemented , as it might have been in Aeschylus , by another from Hamlet , after he has done the deed of killing his stepfather and begun to live with the consequences . The Revenge tradition ...
... play ( 3.3.36–72 ) - but it is not supplemented , as it might have been in Aeschylus , by another from Hamlet , after he has done the deed of killing his stepfather and begun to live with the consequences . The Revenge tradition ...
Seite 142
... play may be a measure of the play's limitations as much as its insight . Macbeth ( c.1606 ) We noted that the sequence Hamlet , Othello , Lear , takes Shakespeare through the key roles a man might play in a lifetime : son , lover and ...
... play may be a measure of the play's limitations as much as its insight . Macbeth ( c.1606 ) We noted that the sequence Hamlet , Othello , Lear , takes Shakespeare through the key roles a man might play in a lifetime : son , lover and ...
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