Search results
Results From The WOW.Com Content Network
Kullervo, a tragic hero from the Karelian and Finnish Kalevala. The influence of the Aristotelian hero extends past classical Greek literary criticism.Greek theater had a direct and profound influence on Roman theater and formed the basis of Western theater, with other tragic heroes including Macbeth in William Shakespeare's The Tragedy of Macbeth, and Othello in his Othello. [4]
In the Aristotelian definition of tragedy, it was the discovery of one's own identity or true character (e.g. Cordelia, Edgar, Edmund, etc. in Shakespeare's King Lear) or of someone else's identity or true nature (e.g. Lear's children, Gloucester's children) by the tragic hero. Aristotle was the first writer to discuss the uses of anagnorisis ...
He claims that, for Aristotle, misfortune has tragic meaning only if it is avoidable and intelligible, and that recognizing before killing, among the four ways, best meets these criteria. [80] In his interpretation of Halliwell, Takeda believed the main point is that Aristotle had emphasized process over ending in misfortune. [ 81 ]
Poetic justice describes an obligation of the dramatic poet, along with philosophers and priests, to see that their work promotes moral behavior. [10] 18th-century French dramatic style honored that obligation with the use of hamartia as a vice to be punished [10] [11] Phèdre, Racine's adaptation of Euripides' Hippolytus, is an example of French Neoclassical use of hamartia as a means of ...
Tragic plots were most often based upon myths from the oral traditions of archaic epics. In tragic theatre, however, these narratives were presented by actors. The most acclaimed Greek tragedians are Aeschylus, Sophocles, and Euripides. These tragedians often explored many themes of human nature, mainly as a way of connecting with the audience ...
In his essay "Hegel's Theory of Tragedy," A.C. Bradley first introduced the English-speaking world to Hegel's theory, which Bradley called the "tragic collision", and contrasted against the Aristotelian notions of the "tragic hero" and his or her "hamartia" in subsequent analyses of the Aeschylus' Oresteia trilogy and of Sophocles' Antigone. [74]
Aristotle, in his Poetics, defines peripeteia as "a change by which the action veers round to its opposite, subject always to our rule of probability or necessity."." According to Aristotle, peripeteia, along with discovery, is the most effective when it comes to drama, particularly in a
The term is often discussed along with Aristotle's concept of anagnorisis. Elizabeth Belfiore held an alternate view of catharsis as an allopathic process in which pity and fear produce a catharsis of emotions unlike pity and fear, which she described in her book,Tragic Pleasures: Aristotle on Plot and Emotion. [21]