Tragedy: A Short IntroductionWiley, 29 okt. 2007 - 152 sidor Tragedy: A Short Introduction reinvigorates the genre for readers who are eager to embrace it, but who often find the traditional masterpieces too distant from their own language and world.
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Sida 25
... Ibsen endowed his plays with a sense of tragedy embedded in the real world . Nineteenth- century audiences might have accepted the intrusion of the stuff of common life into the world of comedy , but it would have seemed antithetical to ...
... Ibsen endowed his plays with a sense of tragedy embedded in the real world . Nineteenth- century audiences might have accepted the intrusion of the stuff of common life into the world of comedy , but it would have seemed antithetical to ...
Sida 47
... Ibsen was the playwright who most radically staked his claim on the decision to write in prose rather than verse . Tragedy in Ibsen inheres as much in common language as it does in common things . Later both W. B. Yeats and T. S. Eliot ...
... Ibsen was the playwright who most radically staked his claim on the decision to write in prose rather than verse . Tragedy in Ibsen inheres as much in common language as it does in common things . Later both W. B. Yeats and T. S. Eliot ...
Sida 104
... Ibsen , the focus is more on the experience of the individual in bourgeois society . Ibsen wrote in a letter to Moritz Prozor in 1890 that in Hedda Gabler he wanted " to depict human beings , human emotions , and human destinies , upon ...
... Ibsen , the focus is more on the experience of the individual in bourgeois society . Ibsen wrote in a letter to Moritz Prozor in 1890 that in Hedda Gabler he wanted " to depict human beings , human emotions , and human destinies , upon ...
Innehåll
Tragic Form and Language | 32 |
Tragic Plots | 52 |
Tragic Heroes | 84 |
Upphovsrätt | |
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action actors Aeschylus Agamemnon Antigone Antony and Cleopatra Aristotle Athens audience Bacchae Blackwell century character choral odes chorus chorus's classical Clytemnestra Companion to Tragedy conflict contemporary contrast Cordelia Creon critical culture daimon death defined desire destiny disaster drama English Renaissance tragedy Euripides evokes example fate Faustus film flaw French neoclassical genre gods Greek tragedy hamartia Hamlet happen Hernani heroic Hippolytus human Ibsen imagination kind King Lear language live Medea modern moral murder neoclassical neoclassical tragedy Nora Oedipus the King Oresteia Orestes overreacher Oxford passion Pentheus performance Phèdre play play's playwrights poetry protagonist punishment question Racine Racine's Rebecca Bushnell rebel represented revenge role Roman scene sense Shakespeare social Sophocles spectators speech story suffering tension Theatre of Dionysus Thebes Thyestes tragic hero tragic plot tragic theater tragic women truth tyrant University Press verse victim violence Waiting for Godot woman words