Myth, Telos, Identity: The Tragic Schema in Greek and Shakespearean DramaRodopi, 2002 - 202 страница 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. |
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Страница 23
... error on which his subjective teleological sequence of actions is based is clearly revealed by the blind seer . Teiresias sees through the void and finally , in anagnórisis teaches Oedipus himself to see through the void , through ...
... error on which his subjective teleological sequence of actions is based is clearly revealed by the blind seer . Teiresias sees through the void and finally , in anagnórisis teaches Oedipus himself to see through the void , through ...
Страница 24
... ( error ) and , finally , of 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 ...
... ( error ) and , finally , of 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 ...
Страница 30
... Error committed in ignorance is hamartema , when the person affected or the act or the instrument or the result is other than expected . The wider sphere of the application of hamar- tema is then subdivided into the more specified areas ...
... Error committed in ignorance is hamartema , when the person affected or the act or the instrument or the result is other than expected . The wider sphere of the application of hamar- tema is then subdivided into the more specified areas ...
Страница 31
... error . In the Poetics , the well - structured plot describes the fall of the hero from prosperity to adversity due to some great error , hamartia megale ( XIII ) . The error in tragedy should be great , megale enough since its ...
... error . In the Poetics , the well - structured plot describes the fall of the hero from prosperity to adversity due to some great error , hamartia megale ( XIII ) . The error in tragedy should be great , megale enough since its ...
Страница 32
... error , hamartema or a misad- venture , atychema . As the two concepts in the Ethics represent the subdivisions of faulty deeds committed in ignorance , hamartia and as Aristotle in the Poetics does include this type of action in his ...
... error , hamartema or a misad- venture , atychema . As the two concepts in the Ethics represent the subdivisions of faulty deeds committed in ignorance , hamartia and as Aristotle in the Poetics does include this type of action in his ...
Садржај
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 Приказ није доступан - 2002 |
Чести термини и фразе
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
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Страница 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.
Страница 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.
Страница 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...
Страница 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!
Страница 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.
Страница 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...