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Tragedy
An exploration of tragedy and its fundamental position in Western culture In this compelling account, eminent literary critic Terry Eagleton explores the nuances of tragedy in Western culture—from literature and politics to philosophy and theater.Eagleton covers a vast array of thinkers and practitioners, including Nietzsche, Walter Benjamin, and Slavoj Žižek, as well as key figures in theater, from Sophocles and Aeschylus to Shakespeare and Ibsen. Eagleton examines the political nature of tragedy, looking closely at its connection with periods of historical transition.The dramatic form originated not as a meditation on the human condition, but at moments of political engagement, when civilizations struggled with the conflicts that beset them.Tragedy, Eagleton demonstrates, is fundamental to human experience and culture.
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Shakespearean Tragedy
A.C. Bradley put Shakespeare on the map for generations of readers and students for whom the plays might not otherwise have become "real" at all' writes John Bayley in his foreword to this edition of Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear and Macbeth. Approaching the tragedies as drama, wondering about their characters as he might have wondered about people in novels or in life, Bradley is one of the most liberating in the line of distinguished Shakespeare critics.His acute yet undogmatic and almost conversational critical method has—despite fluctuations in fashion—remained enduringly popular and influential.For, as John Bayley observes, these lectures give us a true and exhilarating sense of 'the tragedies joining up with life, with all our lives; leading us into a perspective of possibilities that stretch forward and back in time, and in our total awareness of things.
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Tragedy & Geometry
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Tragedy Queens
Archetypes are real. Muses are real. Writers are the channels of these spirits & if that sounds like witchcraft that's because it is.These stories gave me chills. Sylvia Plath & Lana Del Rey course through the veins of these dark, sexy, mind-bending, fantastical, romantic, & haunting tales.Authors from different genres came together in their love & passion for these muses.
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What are French tragedy and bourgeois tragedy?
French tragedy refers to a style of tragic drama that emerged in 17th century France, often associated with playwrights like Pierre Corneille and Jean Racine. These tragedies typically revolve around themes of love, honor, and fate, and are characterized by their strict adherence to the classical unities of time, place, and action. On the other hand, bourgeois tragedy is a genre that emerged in the 18th century, focusing on the lives and struggles of the middle class. Playwrights like Denis Diderot and Gotthold Ephraim Lessing are known for their contributions to this genre, which often explores the moral and social dilemmas faced by ordinary people. Unlike French tragedy, bourgeois tragedy often incorporates elements of realism and domestic settings, reflecting the concerns and experiences of the rising middle class.
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Is the Gretchen tragedy a bourgeois tragedy for literati?
The Gretchen tragedy, also known as Faust, is often considered a bourgeois tragedy because it focuses on the struggles and downfall of a common person, Gretchen, rather than a noble or royal figure. The story resonates with the literati, or educated middle class, as it explores themes of love, morality, and the human condition. The character of Gretchen represents the struggles and conflicts faced by ordinary people, making her story relatable to the literati. Additionally, the play critiques the societal norms and values of the bourgeois class, making it a relevant and thought-provoking tragedy for the literati.
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Is the GDR a tragedy?
The German Democratic Republic (GDR) can be seen as a tragedy in some aspects. The oppressive regime, lack of political freedom, and widespread surveillance under the rule of the Socialist Unity Party of Germany led to the suffering of many citizens. Additionally, the division of Germany and the lasting impact of the GDR's policies on its citizens and economy can be viewed as tragic. However, some may argue that the GDR also had positive aspects, such as its focus on social welfare and gender equality. Ultimately, whether the GDR is considered a tragedy depends on one's perspective and interpretation of its history.
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Greek Tragedy
Why did Aeschylus characterize differently from Sophocles?Why did Sophocles introduce the third actor? Why did Euripides not make better plots? So asks H.D.F Kitto in his acclaimed study of Greek tragedy, available for the first time in Routledge Classics. Kitto argues that in spite of dealing with big moral and intellectual questions, the Greek dramatist is above all an artist and the key to understanding classical Greek drama is to try and understand the tragic conception of each play.In Kitto’s words ‘We shall ask what the dramatist is striving to say, not what in fact he does say about this or that.’ Through a brilliant analysis of Aeschylus’s ‘Oresteia’, the plays of Sophocles including ‘Antigone’ and ‘Oedipus Tyrannus’; and Euripides’s ‘Medea’ and ‘Hecuba’, Kitto skilfully conveys the enduring artistic and literary brilliance of the Greek dramatists.
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Rethinking Tragedy
This groundbreaking collection provokes a major reassessment of the significance of tragedy and the tragic in late modernity.A distinguished group of scholars and theorists extends the discussion of tragedy beyond its usual parameters to include film, popular culture, and contemporary politics.Seven new essays-as well as eight essays originally published in a New Literary History special issue on tragedy-address important, previously neglected areas of tragedy and postcolonial criticism.The new material explores the tragic dimensions of popular culture, the relationship between tragedy and pity, and feminism's avoidance of the tragic, and includes an incisive history of tragic theory. Classic and cutting-edge, this collection offers a provocative, accessible, and comprehensive treatment of tragedy and tragic theory. Contributors: Elisabeth Bronfen, University of Zurich; Stanley Corngold, Princeton University; Simon Critchley, University of Essex; Joshua Foa Dienstag, University of California, Los Angeles; Wai Chee Dimock, Yale University; Page duBois, University of California, San Diego; Terry Eagleton, University of Manchester; Rita Felski, University of Virginia; Simon Goldhill, Cambridge University; Heather K.Love, University of Pennsylvania; Michel Maffesoli, University of Paris (V); Martha C.Nussbaum, University of Chicago; Timothy J. Reiss, New York University; Kathleen M. Sands, University of Massachusetts, Boston; David Scott, Columbia University; George Steiner, University of Geneva; Olga Taxidou, University of Edinburgh
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Modern Tragedy
What distinguishes modern tragedy from other forms of drama?How does it relate to contemporary political and social conditions?To what ends have artists employed the tragic form in different locations during the 20th century?Partly motivated by the urgency of our current situation in an age of ecocidal crisis, Modern Tragedy encompasses a variety of drama from throughout the 20th century.James Moran begins this book with John Millington Synge’s Riders to the Sea (1904), which shows how environmental awareness might be expressed through tragic drama.Moran also looks at Brecht’s reworking of Synge’s drama in the 1937 play Señora Carrar’s Rifles, and situates Brecht's script in the light of the theatre practitioner’s broader ideas about tragedy.Brecht’s tragic thinking – informed by Hegel and Marx – is contrasted with the Schopenhauerian approach of Samuel Beckett.The volume goes on to examine theatre makers whose ideas were partly motivated by applying an understanding of the tragic narrative of Synge’s Riders to the Sea to postcolonial contexts.Looking at Derek Walcott’s The Sea at Dauphin (1954), and J.P.Clark’s The Goat (1961), Modern Tragedy explores how tragedy, a form that is often associated with regressive assumptions about hegemony, might be rethought, and how aspects of the tragic may coincide with the experiences and concerns of authors and audiences of colour.
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Five Revenge Tragedies : The Spanish Tragedy, Hamlet, Antonio's Revenge, The Tragedy of Hoffman, The Revenger's Tragedy
As the Elizabethan era gave way to the reign of James I, England grappled with corruption within the royal court and widespread religious anxiety.Dramatists responded with morally complex plays of dark wit and violent spectacle, exploring the nature of death, the abuse of power and vigilante justice.In Kyd's The Spanish Tragedy a father failed by the Spanish court seeks his own bloody retribution for his son's murder.Shakespeare's 1603 version of Hamlet creates an avenging Prince of unique psychological depth, while Chettle's The Tragedy of Hoffman is a fascinating reworking of Hamlet's themes, probably for a rival theatre company.In Marston's Antonio's Revenge, thwarted love leads inexorably to gory reprisals and in Middleton's The Revenger's Tragedy, malcontent Vindice unleashes an escalating orgy of mayhem on a debauched Duke for his bride's murder, in a ferocious satire reflecting the mounting disillusionment of the age.Emma Smith's introduction considers the political and religious climate behind the plays and the dramatic conventions within them.This edition includes a chronology, playwrights' biographies and suggestions for further reading.
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Why is Macbeth a tragedy?
Macbeth is considered a tragedy because it follows the downfall of the main character, Macbeth, as he is consumed by his ambition and desire for power. The play explores themes of betrayal, guilt, and the consequences of unchecked ambition, leading to the tragic demise of Macbeth and those around him. The play also highlights the destructive nature of unchecked power and the moral decay that can result from it. Ultimately, Macbeth's tragic flaw and the choices he makes lead to his own downfall, making it a classic example of a Shakespearean tragedy.
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Is Corpus Delicti a tragedy?
Corpus Delicti is a novel by German author Juli Zeh that can be considered a tragedy in some ways. The story revolves around a dystopian society where individual freedoms are restricted in the name of public health. The protagonist's struggle against the oppressive system and the tragic consequences that unfold can be seen as elements of a tragedy. The novel also explores themes of loss, betrayal, and the struggle for justice, which are common in tragic literature. However, the novel also incorporates elements of mystery and legal thriller, making it a complex and multi-faceted work.
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What is Faust? A tragedy?
Faust is a tragic play written by Johann Wolfgang von Goethe. It tells the story of a scholar named Faust who makes a pact with the devil, Mephistopheles, in exchange for unlimited knowledge and worldly pleasures. The play explores themes of ambition, temptation, and the consequences of one's actions. It is considered a tragedy because it follows the downfall of Faust as he becomes increasingly dissatisfied with his life despite his newfound powers, ultimately leading to his tragic demise.
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What is a children's tragedy?
A children's tragedy is a literary work or dramatic performance that focuses on the suffering and misfortune of young characters. These tragedies often explore themes of loss, betrayal, and injustice, and may involve the death or suffering of children. The genre aims to evoke empathy and emotional response from the audience, while also addressing important social and moral issues related to the experiences of young people. Children's tragedies can be found in various forms of literature, including novels, plays, and films.
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