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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]
The origin of the word tragedy has been a matter of discussion from ancient times. The primary source of knowledge on the question is the Poetics of Aristotle. Aristotle was able to gather first-hand documentation from theater performance in Attica, which is inaccessible to scholars today. His work is therefore invaluable for the study of ...
Aristotle was the first writer to discuss the uses of anagnorisis, with peripeteia caused by it. He considered it the mark of a superior tragedy, as when Oedipus killed his father and married his mother in ignorance, and later learned the truth, or when Iphigeneia in Tauris realizes in time that the strangers she is to sacrifice are her brother ...
Whatever this problematic word may be taken to mean, it has nothing to do with such ideas as fault, vice, guilt, moral deficiency, or the like. Hamartia is a morally neutral non-normative term, derived from the verb hamartanein, meaning 'to miss the mark', 'to fall short of an objective'. And by extension: to reach one destination rather than ...
Aristotle considers length or time in a distinction between the epic and tragedy: Well then, epic poetry followed in the wake of tragedy up to the point of being a (1) good-sized (2) imitation (3) in verse (4) of people who are to be taken seriously; but in its having its verse unmixed with any other and being narrative in character, there they ...
The title character of “The Tragedy of Macbeth” is unequivocal: “If it were done when ’tis done, then ’twere well it was done quickly.” Director Yaël Farber begs to differ. She takes ...
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Aristotle's use of the term opsis, as Marvin Carlson points out, is the "final element of tragedy," but the term "receive[d] no further consideration". [3] Aristotle discusses opsis in book 6 of the poetics, [4] but only goes as far as to suggest that "spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of ...