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 32
Seite 21
... recognition of the dependence of human status as such . In myth self - displacement is thus the unconditional surrendering of a metaphysically restricted vantage point . This mythological phe- nomenon points to an essential ...
... recognition of the dependence of human status as such . In myth self - displacement is thus the unconditional surrendering of a metaphysically restricted vantage point . This mythological phe- nomenon points to an essential ...
Seite 31
... not necessarily involving misrecognition , like the hamartia of Creon , Hippolytus , Phaidra , etc. discussed below . metadramatic observation is the recognition of objective teleology and the MODES OF THE TRAGIC IN GREEK DRAMA 31.
... not necessarily involving misrecognition , like the hamartia of Creon , Hippolytus , Phaidra , etc. discussed below . metadramatic observation is the recognition of objective teleology and the MODES OF THE TRAGIC IN GREEK DRAMA 31.
Seite 32
The Tragic Schema in Greek and Shakespearean Drama Iván Nyusztay. metadramatic observation is the recognition of objective teleology and the mytho - schematic pattern of plot mechanism . Aristotle's observation is at the same time ...
The Tragic Schema in Greek and Shakespearean Drama Iván Nyusztay. metadramatic observation is the recognition of objective teleology and the mytho - schematic pattern of plot mechanism . Aristotle's observation is at the same time ...
Seite 33
... recognition ( 1453b ) . In the Poetics tragic error is not explicitly grasped as an ethical phenomenon , a mode of expressing moral culpability . The prescrip- tion of a rule and the consistent deduction of judgements from it is the ...
... recognition ( 1453b ) . In the Poetics tragic error is not explicitly grasped as an ethical phenomenon , a mode of expressing moral culpability . The prescrip- tion of a rule and the consistent deduction of judgements from it is the ...
Seite 34
... recognition of fault and the experience of its consequences the hero retrospectively assesses the course of events in their relation to divine will , which is also a mode of anagnórisis . ” In the present case the promotor of recognition ...
... recognition of fault and the experience of its consequences the hero retrospectively assesses the course of events in their relation to divine will , which is also a mode of anagnórisis . ” In the present case the promotor of recognition ...
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...