The Cambridge Introduction to Shakespeare's TragediesCambridge University Press, 08.03.2007 - 169 Seiten Macbeth clutches an imaginary dagger; Hamlet holds up Yorick's skull; Lear enters with Cordelia in his arms. Do these memorable and iconic moments have anything to tell us about the definition of Shakespearean tragedy? Is it in fact helpful to talk about 'Shakespearean tragedy' as a concept, or are there only Shakespearean tragedies? What kind of figure is the tragic hero? Is there always such a figure? What makes some plays more tragic than others? Beginning with a discussion of tragedy before Shakespeare and considering Shakespeare's tragedies chronologically one by one, this 2007 book seeks to investigate such questions in a way that highlights both the distinctiveness and shared concerns of each play within the broad trajectory of Shakespeare's developing exploration of tragic form. |
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... suggested in the Introduction above , however , the classical name most often associated with the study of Shakespeare nowadays , for no very good reason, is Aristotle. Shakespeare almost certainly never read Aristotle, so Tragedy ...
... suggested in the Introduction above , however , the classical name most often associated with the study of Shakespeare nowadays , for no very good reason, is Aristotle. Shakespeare almost certainly never read Aristotle, so Tragedy ...
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... suggest . Even if the ' poem ' ( under which name Johnson includes poetic drama ) was not of itself necessarily elevated in style , the idea that tragedy concerned the fall of someone of elevated social station was fairly widespread ...
... suggest . Even if the ' poem ' ( under which name Johnson includes poetic drama ) was not of itself necessarily elevated in style , the idea that tragedy concerned the fall of someone of elevated social station was fairly widespread ...
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... suggests that this vein of writing had already come to seem somewhat tired by the end of the 1580s , by which time permanent playhouses had been established in London for over twenty years , and some writers and audiences , especially ...
... suggests that this vein of writing had already come to seem somewhat tired by the end of the 1580s , by which time permanent playhouses had been established in London for over twenty years , and some writers and audiences , especially ...
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action actor Antony and Cleopatra Antony's Apemantus Aristotle audience Aufidius become blood bond Brutus Capulet Cassius chorus classical close clown comedy comic contemporary contrast Cordelia Core scene Coriolanus death Desdemona drama earlier Elizabethan emblematic Emilia excess Faustus fear feel figure Folio friends Ghost Gloucester Gorboduc Hamlet handkerchief honour human Iago Iago's Julius Caesar kill kind King kneeling Lady Macbeth Lavinia Lear Lear's lovers Macduff manhood Marcus mark antony Martius masculinity moral murder opening scene Ophelia Othello parallel performance perspective play play's Plutarch political Portia protagonist question recalls recognise represented response revenge tragedy rhetoric ritual Roman Rome Romeo and Juliet Saturninus scripts seems Seneca sequence Shakespeare Shakespearean tragedy shows soliloquy Spanish Tragedy speak speech stage direction story suggest Tamora theatre thee thing thou Timon of Athens Titus Andronicus tragic hero villain violence virtue wife women words