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 52
... means ' to make sacred ' ( cf. sacrificium ) actually means ' to put to death ' ? . . . Sacrifice takes place so that the profane world can communicate with the divine world through the priest and by means of the rites . To make the ...
... means ' to make sacred ' ( cf. sacrificium ) actually means ' to put to death ' ? . . . Sacrifice takes place so that the profane world can communicate with the divine world through the priest and by means of the rites . To make the ...
Sida 107
... means of the plot . Stage events are too easily foisted in to please public taste - Barabas becomes a scapegoat for public unease , as does Shylock , and boiling him is presumably quite acceptable - and the public appetite for horrors ...
... means of the plot . Stage events are too easily foisted in to please public taste - Barabas becomes a scapegoat for public unease , as does Shylock , and boiling him is presumably quite acceptable - and the public appetite for horrors ...
Sida 233
... means . Abstraction is always a sacrifice of weight , and here is another proof of it , operating on the playwright himself . Miller can go to the streets for the language of colour and force - Italian- American , Yiddish - American ...
... means . Abstraction is always a sacrifice of weight , and here is another proof of it , operating on the playwright himself . Miller can go to the streets for the language of colour and force - Italian- American , Yiddish - American ...
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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