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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 ...
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]
[4] For Else, catharsis is an Aristotelian concept which must be read alongside the literary concepts of mimesis and hamartia as well. These latter two concepts are usually paraphrased as "literary representation" and "intellectual error" in Else's appraisal of Aristotle's literary aesthetic theory.
The tragic imitation requires less time for the attainment of its end. If it has more concentrated effect, it is more pleasurable than one with a large admixture of time to dilute it. There is less unity in the imitation of the epic poets (plurality of actions) and this is proved by the fact that an epic poem can supply enough material for ...
On 5 January 1975, the 12-bit field that had been used for dates in the TOPS-10 operating system for DEC PDP-10 computers overflowed, in a bug known as "DATE75". The field value was calculated by taking the number of years since 1964, multiplying by 12, adding the number of months since January, multiplying by 31, and adding the number of days since the start of the month; putting 2 12 − 1 ...
Some have understood “hamartia” this way: “Traditionally, [hamartia] has been interpreted as referring to a 'tragic flaw' in the character of the protagonist (the tragic hero). More often than not, the tragic flaw is hubris. . .
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