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 1
... takes place which anyone in the auditorium is free to interfere with ; and the fact that almost no one ever does ... takes advantage of the social contract that brings us together in his theatre to take us down beneath our daily ...
... takes place which anyone in the auditorium is free to interfere with ; and the fact that almost no one ever does ... takes advantage of the social contract that brings us together in his theatre to take us down beneath our daily ...
Seite 15
... takes treacherous advantage of the warrior's first bath in his own palace - the final moment of disarming in the security of home - to entangle him shamefully in a robe ; and her description of his death represents it as a glorious ...
... takes treacherous advantage of the warrior's first bath in his own palace - the final moment of disarming in the security of home - to entangle him shamefully in a robe ; and her description of his death represents it as a glorious ...
Seite 198
... takes to turn it into putrefying flesh . The play's paradoxical title , Blood Wedding , will be justified : new life will be extinguished in blood at the very moment of inception . The world of the play is profoundly familiar too : it ...
... takes to turn it into putrefying flesh . The play's paradoxical title , Blood Wedding , will be justified : new life will be extinguished in blood at the very moment of inception . The world of the play is profoundly familiar too : it ...
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