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 27
Página 2
... fear , which turns out to have been a large part of the problem . Just as depression is not really grief , but a fear of grief , so ambivalent anxiety is a sub- tragic emotion . A well - based fear is much less frightening , because it ...
... fear , which turns out to have been a large part of the problem . Just as depression is not really grief , but a fear of grief , so ambivalent anxiety is a sub- tragic emotion . A well - based fear is much less frightening , because it ...
Página 23
... fear they generate is indispensable . Unloved and unvalued they may be in the new Olympian order , but their compensation is their own pride in their vital work : All holds . For we are strong and skilled ; we have authority ; we hold ...
... fear they generate is indispensable . Unloved and unvalued they may be in the new Olympian order , but their compensation is their own pride in their vital work : All holds . For we are strong and skilled ; we have authority ; we hold ...
Página 25
... fear ' ( L 690-1 ) . Athena speaks in the Furies ' own vein when she urges her citizens to sustain a middle way between anarchy and tyranny in their city , using active fear as the safeguard of their democracy : No anarchy , no rule of ...
... fear ' ( L 690-1 ) . Athena speaks in the Furies ' own vein when she urges her citizens to sustain a middle way between anarchy and tyranny in their city , using active fear as the safeguard of their democracy : No anarchy , no rule of ...
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