Tragic Plots: A New Reading from Aeschylus to LorcaAshgate, 2000 - 248 páginas 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 |
Dentro del libro
Resultados 1-3 de 34
Página 125
... characters are self - conscious and ' knowing ' , like Iago . Good characters , like Othello and Desdemona , are purely , unconsciously , themselves ( and therefore may ' as tenderly be led by th ' nose / As asses are ' , 1.3.393-4 ) ...
... characters are self - conscious and ' knowing ' , like Iago . Good characters , like Othello and Desdemona , are purely , unconsciously , themselves ( and therefore may ' as tenderly be led by th ' nose / As asses are ' , 1.3.393-4 ) ...
Página 236
... characters in this play . Lopakhin the rising businessman is only one example ; Trofimov the student revolutionary is another , and so too are the rootless characters inside and outside the family , like the governess Charlotte who has ...
... characters in this play . Lopakhin the rising businessman is only one example ; Trofimov the student revolutionary is another , and so too are the rootless characters inside and outside the family , like the governess Charlotte who has ...
Página 240
... characters are childish but not children : they are adults without enough adult characteristics to justify their status . The work they would have to do to make themselves adequate characters for tragedy , as with Ibsen's Nora , would ...
... characters are childish but not children : they are adults without enough adult characteristics to justify their status . The work they would have to do to make themselves adequate characters for tragedy , as with Ibsen's Nora , would ...
Otras ediciones - Ver todas
Tragic Plots: A New Reading from Aeschylus to Lorca Felicity Rosslyn Sin vista previa disponible - 2017 |
Tragic Plots: A New Reading from Aeschylus to Lorca Felicity Rosslyn Sin vista previa disponible - 2019 |
Términos y frases comunes
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