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 50
... scenes , Sophocles creates an episode in which a hypocritical Creon abducts Antigone and Ismene . Theseus quickly halts the violence and brings the daughters back , and the scene that follows is reminiscent of Electra's agony over ...
... scenes , Sophocles creates an episode in which a hypocritical Creon abducts Antigone and Ismene . Theseus quickly halts the violence and brings the daughters back , and the scene that follows is reminiscent of Electra's agony over ...
Seite 108
... scenes sound like Marlowe . The laboured clowning that fills up the centre of the play may be his , but it has been ... scene has been called ' an inventory of the Renaissance mind ' , but we may be more struck by how it evades the key ...
... scenes sound like Marlowe . The laboured clowning that fills up the centre of the play may be his , but it has been ... scene has been called ' an inventory of the Renaissance mind ' , but we may be more struck by how it evades the key ...
Seite 170
... scene They laugh at . O my mother , mother , O ! You have won a happy victory to Rome ; But for your son , believe it , O believe it , Most dangerously you have with him prevailed , If not most mortal to him . But let it come . ( 183–90 ) ...
... scene They laugh at . O my mother , mother , O ! You have won a happy victory to Rome ; But for your son , believe it , O believe it , Most dangerously you have with him prevailed , If not most mortal to him . But let it come . ( 183–90 ) ...
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