Myth, Telos, Identity: The Tragic Schema in Greek and Shakespearean DramaRodopi, 2002 - 202 Seiten Iván Nyusztay's Myth, Telos, Identity: The Tragic Schema in Greek and Shakespearean Drama for the first time presents a systematic comparison of Greek and Shakespearean tragedy. By thematizing the common modes of the tragic, it measures their structural regularities against corresponding philosophical and ethical reflections. The comparative theory of tragedy evolves through a constant debate with the traditional views of Aristotle, Hegel, Schelling, Paul Ricoeur, and others. An architectonic survey of plays leads to a generic distinction between pure tragedy and melodrama, and proposes a possible description of Christian tragedy. This generic differentiation is considered by means of a teleological approach to tragedy as well as from a formal perspective. The criticism of traditional notions of character stresses the relevance of dividedness and internal collision - tragic phenomena which are explored as necessary stages of self in the constitution and formation of tragic or internal alterity. This form of alterity is underpinned by a discussion of action theory and speech act theory. This book will be of interest for readers of Greek and Shakespearean drama, as well as for students of comparative literature and genre theory, classicists and philosophers, and for everyone interested in the relation between literature and philosophy. |
Im Buch
Ergebnisse 1-5 von 17
Seite 24
... hybris ( pride ) . Modes of the Tragic : Kakos and miasma The collective concept of kakos encompasses the most decisive ex- periences of evil of the heroes in pure tragedy . If all the individual experiences of evil were to be summed up ...
... hybris ( pride ) . Modes of the Tragic : Kakos and miasma The collective concept of kakos encompasses the most decisive ex- periences of evil of the heroes in pure tragedy . If all the individual experiences of evil were to be summed up ...
Seite 31
... hybris , where if moralized , it is counterbalanced with moral retribution , Nemesis . Hamartia stands in isolation . " This isolation may be abridged with its reconsideration as a concept functioning within a larger whole represented ...
... hybris , where if moralized , it is counterbalanced with moral retribution , Nemesis . Hamartia stands in isolation . " This isolation may be abridged with its reconsideration as a concept functioning within a larger whole represented ...
Seite 35
... hybris - hamartia relation . Antigone's tragic death is the indirect consequence of Creon's hybris . Teiresias the mantis , seer , the interpreter of divine omens , is also representative of sober judge- ment , the advocate of ...
... hybris - hamartia relation . Antigone's tragic death is the indirect consequence of Creon's hybris . Teiresias the mantis , seer , the interpreter of divine omens , is also representative of sober judge- ment , the advocate of ...
Seite 36
... Hybris The identification of the term hybris and its comprehensive applica- tion for a wide range of inclinations and activities is a much debated issue . Due to the lack of its systematic consideration in the Poetics , we have to ...
... Hybris The identification of the term hybris and its comprehensive applica- tion for a wide range of inclinations and activities is a much debated issue . Due to the lack of its systematic consideration in the Poetics , we have to ...
Seite 37
... hybris is regarded as insolence and is de- fined together with malice as being the motive of all wrongdoing , kakourgia . In the passage on hybris , insolence and grand wickedness are attributed to those , who are " exceedingly ...
... hybris is regarded as insolence and is de- fined together with malice as being the motive of all wrongdoing , kakourgia . In the passage on hybris , insolence and grand wickedness are attributed to those , who are " exceedingly ...
Inhalt
3 | |
14 | |
MODES OF THE TRAGIC IN SHAKESPEAREAN DRAMA | 43 |
CHARACTER AND IDENTITY | 63 |
FROM CHARACTER TO SELF | 104 |
FORMS OF ACTION AND PASSIVITY | 129 |
SPEECH ACTS | 150 |
EPILOGUE | 171 |
BIBLIOGRAPHY | 184 |
INDEX | 199 |
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Myth, Telos, Identity: The Tragic Schema in Greek and Shakespearean Drama Iván Nyusztay Keine Leseprobe verfügbar - 2002 |
Häufige Begriffe und Wortgruppen
actant agent ambiguity appears argued Aristotle Aristotle's Cambridge Chapter character characterization claimed concept conflict consequence context contrast critical crucial death deed defilement defined delusion differential teleology dividedness divine dominant dramatic action ethical schema Euripides evil fate final finitude genre gods Greek and Shakespearean Greek tragedy hamartia Hamlet Hegel heroic human hybris Ibid illocutionary intention isolated katharsis King Lear Lear's Loeb Classical Library London Macbeth meaning melodrama miasma mimesis mode moral murder myth narrative identity nature necessity Nicomachean Ethics objective telos Oedipus Oedipus at Colonus Oxford Paul Ricoeur perlocutionary act perspective philosophy play plot Poetics Polonius present pride prince problematic pure tragedy question recognition reconciliation reflection relation revenge revenge plays Richard Ricoeur role role-play Routledge scene seems selfhood sense sequence Shakespeare Shakespearean tragedy speech act structure teleological Tengelyi term tion tradition tragic experience tragic fulfilment tragic identity tragic schema trans transformed understanding words
Beliebte Passagen
Seite 172 - My thought, whose murder yet is but fantastical, Shakes so my single state of man, that function Is smother'd in surmise; and nothing is, But what is not.
Seite 61 - Grey : But then I sigh, and, with a piece of scripture, Tell them that God bids us do good for evil : And thus I clothe my naked villainy With odd old ends stol'n forth of holy writ, And seem a saint, when most I play the devil.
Seite 69 - This is the excellent foppery of the world, that, when we are sick in fortune, — often the surfeit of our own behaviour, — we make guilty of our disasters the sun, the moon, and the stars...
Seite 148 - Prompted to my revenge by heaven and hell, Must, like a whore, unpack my heart with words, And fall a-cursing, like a very drab, A scullion!
Seite 58 - Fie, my lord, fie ! a soldier, and afeard? What need we fear who knows it, when none can call our power to account? Yet who would have thought the old man to have had so much blood in him? Doct. Do you mark that? Lady M. The thane of Fife had a wife; where is she now? What, will these hands ne'er be clean? No more o' that, my lord, no more o' that: you mar all with this starting.
Seite 68 - These late eclipses in the sun and moon portend no good to us : though the wisdom of nature can reason it thus and thus, yet nature finds itself scourged by the sequent effects...