The Construction of Tragedy: HubrisMary A. Mann, 2004 - 228 էջ A beacon for the 21st century is an understanding of the Science of Being Altogether as practiced by the great tragic dramatists. An integral part of the art form of tragedy is deemed to be the dramatists' adherence to the philosophy of the Science of Being Altogether where the artist becomes intuitive scientist in creating a microcosm of the universe itself. Six plays Antigone, Hamlet, King Lear, Murder in the Cathedral, A Man for All Seasons, The Condemned of Altona are analyzed in similar format in HUBRIS, The Construction of Tragedy. Societies and forms of government may vary but humanity itself does not change significantly. Antigone, Hamlet and Albany in King Lear are deeply aware of mortals' cosmic connection and the responsibilities resultant from it. Hubris in human activity such as domination, exemplified by Creon in Antigone, and martyrdom extolled by More in A Man for All Seasons and Thomas in Murder in the Cathedral can be understood to be scientifically untenable and destined to be chastened or broken by the universal life force. The Condemned of Altona addresses the 20th century disconnect of human morality from cosmic harmony. At the end of each play's analysis, a section is devoted to its contemporary relevance. Contemporary issues as fear of dialogue, domination , martyrdom, religious fervor and ideological hatred, and the slide into hopelessness all fit into patterns of human behavior that are explored in tragedy. |
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Արդյունքներ 84–ի 1-ից 5-ը:
... nature ...... 12 VIII . An understanding of the mode of operation of the universe as it has been codified by mortals ....... ....... 13 IX . The understanding of the whole which is greater than the sum of its parts . 14 X. The mode of ...
... nature ........ 25 XIX . The consideration of the audience in determining the play's magnitude .. 26 XX . The function of language 28 XXI . The production ......... .... 28 XXII . The aftermath of tragedy . Chapter II Antigone I. The ...
... nature doth with merit challenge . The roles of the sisters . The personal and political deviations of Goneril and Regan . The mean of Cordelia ....... ..... 88 VII . Political awareness in Albany and Cordelia . Kent and his ...
... natural paradigm for classical tragedy 147 XII . A structural alternative for A Man for All Seasons to give it the eternally relevant impact of a classical tragedy .. 147 CHAPTER VII The Condemned Of Altona ................ 149 I. The ...
... nature and tragic portrayal . ..... VIII . The responsibility of the tragedian to portray tragic conflict . The philosophy of tragedy and the science of being versus the philosophy of existentialism ....... IX . A structural alternative ...
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1 | |
10 | |
11 | |
constructed tragedy | 23 |
Characterits ethical nature | 25 |
The consideration of the audience in determining the plays magnitude | 26 |
The function of language | 28 |
The aftermath of tragedy | 29 |
The cosmic imbalance caused by murder and its mortal | 63 |
The political structure of Denmark and the art | 71 |
King Lear | 79 |
The ethicality of Albanys contribution to the highest | 86 |
Political awareness in Albany and Cordelia Kent and | 93 |
The art of personal survival in postLear Britain Edgar | 102 |
Murder In The Cathedral | 109 |
The mystic circle The relationship of the priests | 116 |
Antigone | 31 |
which the play is prepared | 33 |
The state of affairs in the play | 34 |
The plot Its relationship to a universal truth The meaning of fidelity of correspondence through all dimensions from innerpersonal to cosmic | 35 |
The energy drive of honor due to the dead as motivated by Antigone in her heightened role as sibling | 37 |
The role of Teiresias seer and intermediary | 43 |
The energy drive of Creons bid for power | 45 |
The role of the chorus | 48 |
The average mortal | 49 |
The contemporary relevance of Antigone | 50 |
Hamlet | 55 |
The moment of choice for Thomas | 122 |
The energy drive of More How it is affected by human | 134 |
The role of the woman Her assigned importance | 140 |
The natural paradigm for classical tragedy | 147 |
The highest energy drive Economic growth and the will | 153 |
From Franz to Hitler and back Dictatorial prevailing | 162 |
The responsibility of the tragedian to portray tragic | 170 |
Structuring the prepared material Deciding upon | 178 |
The state of the art The importance of the study of | 184 |