Tragic Plots: A New Reading from Aeschylus to LorcaAshgate, 2000 - 248 sidor 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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Sida 22
... human . This may explain why the god who takes it on himself to interfere in Orestes ' destiny is a male god , and the newest of the Olympians . Apollo stands for something recent , as it were , in human evolution , the realm of ...
... human . This may explain why the god who takes it on himself to interfere in Orestes ' destiny is a male god , and the newest of the Olympians . Apollo stands for something recent , as it were , in human evolution , the realm of ...
Sida 27
... human being can say the same , and the half of the jury that voted against Orestes evidently agreed : there is no way around the primacy of the mother , in whose body the child's body is made , and with whom the root of all piety begins ...
... human being can say the same , and the half of the jury that voted against Orestes evidently agreed : there is no way around the primacy of the mother , in whose body the child's body is made , and with whom the root of all piety begins ...
Sida 241
... human being.28 It is because Chekhov knows in every fibre of himself what unremitting effort it takes to become ' a real human being ' , and how sweetly seductive are all the excuses the habit of slavery makes , that his analysis of the ...
... human being.28 It is because Chekhov knows in every fibre of himself what unremitting effort it takes to become ' a real human being ' , and how sweetly seductive are all the excuses the habit of slavery makes , that his analysis of the ...
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Tragic Plots: A New Reading from Aeschylus to Lorca Felicity Rosslyn Begränsad förhandsgranskning - 2018 |
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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