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The Tragic Imagination in Shakespeare and Emerson
by Andy AmatoWhat is the “tragic imagination”? And what role does it play in the works of William Shakespeare and Ralph Waldo Emerson? Explaining the tragic imagination as a creative faculty employed to answer the perennial Riddle of the Sphinx – a theory of the world that advances human freedom and dignity in the face of historical injustice, cruelty and violence – Andy Amato seeks to recover and rehabilitate this concept by revealing its significance to both key works of philosophy and literature and our contemporary world. This book begins with a close and careful reading of Emerson's first major work, Nature, in conversation with nineteenth and 20thcentury continental philosophy, critical theory and post-structuralism. Uncovering neglected elements of Emerson's philosophy, beyond his reputation as the philosopher of 'cheer', this book explores how Emersonian transcendentalism affirms rather than denies the tragic sense of life – “tragic idealism” – and makes a substantial contribution to philosophy's perpetual endeavour to solve the Riddle. In the second part of the book, Amato then employs Emerson's theoretical lens to interpret Shakespeare's tragedy, King Lear. In doing so, he innovatively reframes the central themes of suffering, vision, nature, nothing, foolishness and silence toward achieving liberation.By pairing these two giants of literature and philosophy, The Tragic Imagination in Shakespeare and Emerson not only offers fresh interpretations of Nature and King Lear, but also makes the case for the renewed deployment of tragic imagination, in creative redress, to our current social-political situation.
The Tragic Imagination in Shakespeare and Emerson
by Andy AmatoWhat is the “tragic imagination”? And what role does it play in the works of William Shakespeare and Ralph Waldo Emerson? Explaining the tragic imagination as a creative faculty employed to answer the perennial Riddle of the Sphinx – a theory of the world that advances human freedom and dignity in the face of historical injustice, cruelty and violence – Andy Amato seeks to recover and rehabilitate this concept by revealing its significance to both key works of philosophy and literature and our contemporary world. This book begins with a close and careful reading of Emerson's first major work, Nature, in conversation with nineteenth and 20thcentury continental philosophy, critical theory and post-structuralism. Uncovering neglected elements of Emerson's philosophy, beyond his reputation as the philosopher of 'cheer', this book explores how Emersonian transcendentalism affirms rather than denies the tragic sense of life – “tragic idealism” – and makes a substantial contribution to philosophy's perpetual endeavour to solve the Riddle. In the second part of the book, Amato then employs Emerson's theoretical lens to interpret Shakespeare's tragedy, King Lear. In doing so, he innovatively reframes the central themes of suffering, vision, nature, nothing, foolishness and silence toward achieving liberation.By pairing these two giants of literature and philosophy, The Tragic Imagination in Shakespeare and Emerson not only offers fresh interpretations of Nature and King Lear, but also makes the case for the renewed deployment of tragic imagination, in creative redress, to our current social-political situation.
The Tragic Mind: Fear, Fate, and the Burden of Power
by Robert D. KaplanA moving meditation on recent geopolitical crises, viewed through the lens of ancient and modern tragedy “Classical drama provides crucial lessons for policymakers. . . . A road map for effective, well-considered policy.”—Kirkus Reviews Some books emerge from a lifetime of hard-won knowledge. Robert D. Kaplan has learned, from a career spent reporting on wars, revolutions, and international politics in Europe, the Middle East, and East Asia, that the essence of geopolitics is tragedy. In The Tragic Mind, he employs the works of ancient Greek dramatists, Shakespeare, German philosophers, and the modern classics to explore the central subjects of international politics: order, disorder, rebellion, ambition, loyalty to family and state, violence, and the mistakes of power. The great dilemmas of international politics, he argues, are not posed by good versus evil—a clear and easy choice—but by contests of good versus good, where the choices are often searing, incompatible, and fraught with consequences. A deeply learned and deeply felt meditation on the importance of lived experience in conducting international relations, this is a book for everyone who wants a profound understanding of the tragic politics of our time.
Tragic Modernities
by Miriam LeonardUnder the microscope of recent scholarship the universality of Greek tragedy has started to fade, as particularities of Athenian culture have come into focus. Miriam Leonard contests the idea of the death of tragedy and argues powerfully for the continued vitality and viability of Greek tragic theater in the central debates of contemporary culture.
Tragic Modernities
by Miriam LeonardUnder the microscope of recent scholarship the universality of Greek tragedy has started to fade, as particularities of Athenian culture have come into focus. Miriam Leonard contests the idea of the death of tragedy and argues powerfully for the continued vitality and viability of Greek tragic theater in the central debates of contemporary culture.
Tragic Novels, René Girard and the American Dream: Sacrifice in Suburbia (Violence, Desire, and the Sacred)
by Carly OsbornThis book draws on the philosopher René Girard to argue that three twentieth-century American novels (Jeffrey Eugenides's The Virgin Suicides, Rick Moody's The Ice Storm, and Richard Yates's Revolutionary Road) are tragedies.Until now, Girardian literary analysis has generally focused on representations of human desire in texts, and neglected both other emotions and the place of tragedy. Carly Osborn addresses these omissions by using Girardian theory to present evidence that novels can indeed be tragedies. The book advances the scholarship of tragedy that has run from Aristotle to Nietzsche to Terry Eagleton, proposing a new way to read modern novels through ancient traditions. In addition, this is the first work to examine the place of women as victims, or in Girardian terms, 'scapegoats', in twentieth century fiction, specifically by considering the representation of women's bodies and ambivalence about their identities.In deploying a rich and vivid array of tragic tropes, The Virgin Suicides, The Ice Storm, and Revolutionary Road participate in a deep-rooted American tragic tradition. Tragic Novels, the American Dream and René Girard will be of interest to those working at the intersection of philosophy and literature, as well as Girard specialists.
Tragic Novels, René Girard and the American Dream: Sacrifice in Suburbia (Violence, Desire, and the Sacred)
by Carly OsbornThis book draws on the philosopher René Girard to argue that three twentieth-century American novels (Jeffrey Eugenides's The Virgin Suicides, Rick Moody's The Ice Storm, and Richard Yates's Revolutionary Road) are tragedies.Until now, Girardian literary analysis has generally focused on representations of human desire in texts, and neglected both other emotions and the place of tragedy. Carly Osborn addresses these omissions by using Girardian theory to present evidence that novels can indeed be tragedies. The book advances the scholarship of tragedy that has run from Aristotle to Nietzsche to Terry Eagleton, proposing a new way to read modern novels through ancient traditions. In addition, this is the first work to examine the place of women as victims, or in Girardian terms, 'scapegoats', in twentieth century fiction, specifically by considering the representation of women's bodies and ambivalence about their identities.In deploying a rich and vivid array of tragic tropes, The Virgin Suicides, The Ice Storm, and Revolutionary Road participate in a deep-rooted American tragic tradition. Tragic Novels, the American Dream and René Girard will be of interest to those working at the intersection of philosophy and literature, as well as Girard specialists.
Tragic Plots: A New Reading from Aeschylus to Lorca
by Felicity RosslynThis title was first published in 2000. This book offers a wide-ranging account of tragic drama from the Greeks to Arthur Miller. It puts forward a bold and vigorously developed argument about the recurrent concerns of tragedy, and proposes to uncover the archetypal tragic plot that emerges at key points of historical transition. It traces this plot through fascinatingly diverse formations on Athens, Renaissance England and the modern world, and offers detailed analysis of over twenty plays. The needs of the first-time reader are not forgotten, while challenging new light is thrown on each period. There is substantial discussion of Aeschylus, Sophocles, Euripedes, Marlowe, Shakespeare, Ibsen, Strindberg, Chekhov, Lorca and Miller, along with briefer consideration of the Senecan tradition, Yeats, Synge, O’Neill and T.S. Eliot. Felicity Rosslyn asks why tragic plays get written when they do, and why they so often dramatise the struggle to break the ties of blood for the bonds of law.
Tragic Plots: A New Reading from Aeschylus to Lorca
by Felicity RosslynThis title was first published in 2000. This book offers a wide-ranging account of tragic drama from the Greeks to Arthur Miller. It puts forward a bold and vigorously developed argument about the recurrent concerns of tragedy, and proposes to uncover the archetypal tragic plot that emerges at key points of historical transition. It traces this plot through fascinatingly diverse formations on Athens, Renaissance England and the modern world, and offers detailed analysis of over twenty plays. The needs of the first-time reader are not forgotten, while challenging new light is thrown on each period. There is substantial discussion of Aeschylus, Sophocles, Euripedes, Marlowe, Shakespeare, Ibsen, Strindberg, Chekhov, Lorca and Miller, along with briefer consideration of the Senecan tradition, Yeats, Synge, O’Neill and T.S. Eliot. Felicity Rosslyn asks why tragic plays get written when they do, and why they so often dramatise the struggle to break the ties of blood for the bonds of law.
Tragic Realism and Modern Society: The Passionate Political in the Modern Novel (Edinburgh Studies In Culture And Society Ser.)
by John OrrA critical study which discusses passion and community as the central structures of feeling in tragic realism, tracing their origins in Stendhal, Tolstoy and Dostoevsky and explaining their contemporary eclipse in Western society.
Tragic Time in Drama, Film, and Videogames: The Future in the Instant
by Rebecca BushnellThis book explores how classical and Shakespearean tragedy has shaped the temporality of crisis on the stage and in time-travel films and videogames. In turn, it uncovers how performance and new media can challenge common assumptions about tragic causality and fate. Traditional tragedies may present us with a present when a calamity is staged, a decisive moment in which everything changes. However, modern performance, adaptation and new media can question the premises of that kind of present crisis and its fatality. By offering replays or alternative endings, experimental theatre, adaptation, time travel films and videogames reinvent the tragic experience of irreversible present time. This book offers the reader a fresh understanding of tragic character and agency through these new media’s exposure of the genre’s deep structure.
The Tragic Vision: The Confrontation of Extremity
by Murray KriegerLiterary critics who have studied tragedy and the tragic vision failed, in Murray Krieger's estimation, to define exactly what they saw as the tragic vision in general terms. An aim of his book is to create a tentative definition of tragic and to flesh out what the author sees as the definition most illuminating of modern literature and the modern mind. In order to do this, Krieger distinguishes between what he sees as the "tragic vision" and "tragedy"—tragedy, from his perspective, is an object's literary form, whereas tragic vision refers to a subject's psychology, the subject's view and version of reality. In light of the shriveling of the tragic concept in the modern world and the reduction of a total view to the psychology of the protagonist, Krieger contends that the protagonist in a tragedy is now more appropriately designated a "tragic visionary" than a "tragic hero."
The Tragic Vision: The Confrontation of Extremity
by Murray KriegerOriginally published in 1973. Literary critics who have studied tragedy and the tragic vision failed, in Murray Krieger's estimation, to define exactly what they saw as the tragic vision in general terms. An aim of his book is to create a tentative definition of tragic and to flesh out what the author sees as the definition most illuminating of modern literature and the modern mind. In order to do this, Krieger distinguishes between what he sees as the "tragic vision" and "tragedy"—tragedy, from his perspective, is an object's literary form, whereas tragic vision refers to a subject's psychology, the subject's view and version of reality. In light of the shriveling of the tragic concept in the modern world and the reduction of a total view to the psychology of the protagonist, Krieger contends that the protagonist in a tragedy is now more appropriately designated a "tragic visionary" than a "tragic hero."
The Tragic Vision: The Confrontation of Extremity
by Murray KriegerOriginally published in 1973. Literary critics who have studied tragedy and the tragic vision failed, in Murray Krieger's estimation, to define exactly what they saw as the tragic vision in general terms. An aim of his book is to create a tentative definition of tragic and to flesh out what the author sees as the definition most illuminating of modern literature and the modern mind. In order to do this, Krieger distinguishes between what he sees as the "tragic vision" and "tragedy"—tragedy, from his perspective, is an object's literary form, whereas tragic vision refers to a subject's psychology, the subject's view and version of reality. In light of the shriveling of the tragic concept in the modern world and the reduction of a total view to the psychology of the protagonist, Krieger contends that the protagonist in a tragedy is now more appropriately designated a "tragic visionary" than a "tragic hero."
Tragicomedy (Forms of Drama)
by Brean HammondThis succinct authoritative book offers readers an overview of the origins, characteristics, and changing status of tragicomedy from the 17th century to the present. It explores the work of some of the key English and Irish playwrights associated with the form, the influence of Italian and Spanish theorist-playwrights and the importance of translations of Pierre Corneille's Le Cid. At the turn of the 17th century, English dramatists such as John Marston, John Fletcher, and William Shakespeare began experimenting with plays that mixed elements of tragedy and comedy, producing a blended mode that they themselves called 'tragicomedy'. This book begins by examining the sources of their inspiration and the theatrical achievement that they hoped to gain by confronting an audience with plays that defied the plot and character expectations of 'pure' comedy and tragedy. It goes on to show how, reacting to French models, John Dryden, Shakespeare 'improvers' and other English playwrights developed the form while sowing the seeds of its own vulnerability to parody and obsolescence in the eighteenth century. Discussing nineteenth-century melodrama as in some respects a resurrection of tragicomedy, the final chapter concentrates on plays by Ibsen, Chekhov, and Beckett as examples of the form being revived to create theatrical modes that more adequately represent the perceived complexity of experience.
Tragicomedy (Forms of Drama)
by Brean HammondThis succinct authoritative book offers readers an overview of the origins, characteristics, and changing status of tragicomedy from the 17th century to the present. It explores the work of some of the key English and Irish playwrights associated with the form, the influence of Italian and Spanish theorist-playwrights and the importance of translations of Pierre Corneille's Le Cid. At the turn of the 17th century, English dramatists such as John Marston, John Fletcher, and William Shakespeare began experimenting with plays that mixed elements of tragedy and comedy, producing a blended mode that they themselves called 'tragicomedy'. This book begins by examining the sources of their inspiration and the theatrical achievement that they hoped to gain by confronting an audience with plays that defied the plot and character expectations of 'pure' comedy and tragedy. It goes on to show how, reacting to French models, John Dryden, Shakespeare 'improvers' and other English playwrights developed the form while sowing the seeds of its own vulnerability to parody and obsolescence in the eighteenth century. Discussing nineteenth-century melodrama as in some respects a resurrection of tragicomedy, the final chapter concentrates on plays by Ibsen, Chekhov, and Beckett as examples of the form being revived to create theatrical modes that more adequately represent the perceived complexity of experience.
Tragicomedy (Routledge Library Editions: Comedy)
by David L. HirstIn this brief study, originally published in 1984, David Hirst examines the meaning of the term ‘tragicomedy’ by elucidating the most important theories of the genre and by analysing those plays which represent its most vital and influential expression. He draws a distinction between tragicomedies and conceived as a careful fusion of contrasted dramatic elements and as a mixed genre which seeks to exploit a volatile combination of theatrical extremes. In the first part he compares neo-classical romance and satire. The plays of Shakespeare, Fletcher and Corneille, seen in the context of the literary theory of Guarini, are contrasted with Marlowe and the writers of revenge tragedy. The second part examines the conflict of Romanticism and realism in nineteenth- and twentieth-century theatre. Shaw, Chekhov and the Absurdists are viewed in relation to the key theories of tragicomedy expounded by Brecht, Artaud and Pirandello. The study concludes with a consideration of certain significant contemporary plays – by Edward Bond, Peter Nichols and Peter Barnes – in the context of the historical development of the genre.
Tragicomedy (Routledge Library Editions: Comedy)
by David L. HirstIn this brief study, originally published in 1984, David Hirst examines the meaning of the term ‘tragicomedy’ by elucidating the most important theories of the genre and by analysing those plays which represent its most vital and influential expression. He draws a distinction between tragicomedies and conceived as a careful fusion of contrasted dramatic elements and as a mixed genre which seeks to exploit a volatile combination of theatrical extremes. In the first part he compares neo-classical romance and satire. The plays of Shakespeare, Fletcher and Corneille, seen in the context of the literary theory of Guarini, are contrasted with Marlowe and the writers of revenge tragedy. The second part examines the conflict of Romanticism and realism in nineteenth- and twentieth-century theatre. Shaw, Chekhov and the Absurdists are viewed in relation to the key theories of tragicomedy expounded by Brecht, Artaud and Pirandello. The study concludes with a consideration of certain significant contemporary plays – by Edward Bond, Peter Nichols and Peter Barnes – in the context of the historical development of the genre.
Tragicomedy and Contemporary Culture: Play and Performance from Beckett to Shepard (Edinburgh Studies in Culture and Society)
by John OrrThis study examines the historical relationship between tragicomedy in the modernist theatre and the performative culture of Western consumer societies. While discussing a wide range of playwrights, it focusses specifically on the work of Samuel Beckett, Harold Pinter and Sam Shepard. Their plays, it is argued, illuminate the forms of pleasure, fear, performance and corruption which dominate our daily lives. Tragicomedy is seen as unique becuae of the existential playfulness and confusion of its protagonists, and because of its muted vision of apocalypse in the nuclear age.
Tragikomödien: Kombinationsformen von Tragik und Komik im europäischen Drama des 19. und 20. Jahrhunderts (Schriften zur Weltliteratur/Studies on World Literature #1)
by Frank ZipfelDie Tragikomödie, verstanden als Kombination von Tragik und Komik im Drama, ist eine von der zeitgenössischen Literaturwissenschaft relativ wenig beachtete Gattung. Dabei bietet sie ein heuristisches Modell, das oft übersehene Zusammenhänge in der europäischen Dramenproduktion von der Spätaufklärung bis zur Gegenwart erkennbar werden lässt. Diese internationalen Verbindungen werden durch eine systematische und vergleichende Beschreibung unterschiedlicher Kombinationsformen von Komik und Tragik in paradigmatischen Dramen der deutschen, französischen, italienischen und englischen Literatur offen gelegt.
A Trail in the Woods: Band 4 Blue (PDF) (Collins Big Cat Phonics For Letters And Sounds Ser.)
by Suzannah DitchburnCollins Big Cat Phonics for Letters and Sounds features exciting fiction and non-fiction decodable readers to enthuse and inspire children. They are fully aligned to Letters and Sounds Phases 1-6 and contain notes in the back. The Handbooks provide support in demonstration and modelling, monitoring comprehension and expanding vocabulary. Find out all the different things you can do and see when you got on a trail in the woods in this non-fiction book. Blue/Band 4 books offer longer, repeated patterns with sequential events and integrated literary and natural language. This book focuses on adjacent consonants with long vowel phonemes. Pages 14 and 15 allow children to re-visit the content of the book, supporting comprehension skills, vocabulary development and recall. Reading notes within the book provide practical support for reading Big Cat Phonics for Letters and Sounds with children, including a list of all the sounds and words that the book will cover.
The Train Driver
by Athol FugardIn December 2000, Pumla Lolwana pulled her three children close to her body and stepped in front of a train on the railway tracks between Philippi and Nyanga on the Cape Flats, South Africa.This true story demanded Athol Fugard's attention and compelled him to write The Train Driver; a beautiful and haunting play of redemptive power. The Train Driver received its UK premiere at Hampstead Theatre, London, in November 2010.'Brave, confrontational and tender . . . Essential theatre viewing.' Sunday Times, South Africa
Train Travel as Embodied Space-Time in Narrative Theory (Geocriticism and Spatial Literary Studies)
by Atsuko SakakiTrain Travel as Embodied Space-Time in Narrative Theory argues that the train is a loaded trope for reconfiguring narrative theories past their “spatial turn.” Atsuko Sakaki’s method exploits intensive and rigorous close reading of literary and cinematic narratives on one hand, and on the other hand interdisciplinary perspectives that draw out larger connections to narrative theory. The book utilizes not only narratological frameworks but also concepts of space-focused humanity oriented social sciences, such as human geography, mobility studies, tourism studies, and qualitative/experience-based ethnography, in their post “narrative turn.” On this interface of narrative studies and spatial studies, this book pays concerted attention to the formation of affordances, or relations in which the human subject uses a space-time and things in it, in terms of passenger experience of the train carriage and its extension. Affiliation: Atsuko Sakaki, University of Toronto, Toronto, Canada.
Trainers: Or the Brutal Unpleasant Atmosphere of this Most Disagreeable Season: a Theatrical Essay (Oberon Modern Plays)
by Sylvan OswaldThe only rule is to break the rules. In a parallel present, two queer radicals meet in the fallout of The Second American Civil War. If love is the most radical act, can their desire survive the revolution? Based on Montaigne’s intellectual love affair with political thinker Étienne de La Boétie, Sylvan Oswald’s brand-new play Trainers is a visionary story exploring the different ways we can connect as lovers, activists, and humans.
Trainingsbuch Fernsehreportage: Reporterglück und wie man es macht - Regeln, Tipps und Tricks. Mit Sonderteil Kriegs- und Krisenreportage
by Thomas Morawski Martin WeissDie Fernsehreportage feiert eine ungeahnte Renaissance. Authentisches Miterleben, ungestellte Situationen, echtes Leben, Blicke hinter die Kulissen der Gesellschaft, das kann nur die Reportage. Eine pure journalistische Form nicht nur in Nachrichtenmagazinen und längeren Formaten, inzwischen mit zahlreichen Abkömmlingen in Spielfilm, Dokumentarfilm, Unterhaltungssendungen, ja sogar der Werbung. Die Reportage wirkt, aber wie? Reportage ist kein Zufall, sie hat Regeln. Die beiden erfahrenen Reporter und Trainer bieten ein Handbuch für die praktische Arbeit als Fernsehreporter, ein Nachschlagewerk für Studenten, Macher und Trainer.