Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbethanboco, 06.09.2016 - 994 Seiten Shakespearean tragedy is the classification of drama written by William Shakespeare which has a noble protagonist, who is flawed in some way, placed in a stressful heightened situation and ends with a fatal conclusion. The plots of Shakespearean tragedy focus on the reversal of fortune of the central characters which leads to their ruin and ultimately, death. Shakespeare wrote several different classifications of plays throughout his career and the labeling of his plays into categories is disputed amongst different sources and scholars. There are 10 Shakespeare plays which are always classified as tragedies and several others which are disputed; there are also Shakespeare plays which fall into the classifications of comedy, history, or romance/tragicomedy that share fundamental attributes of a Shakespeare tragedy but do not wholly fit in to the category. The plays which provide the strongest fundamental examples of the genre of Shakespearean tragedy are Hamlet, Othello, King Lear, Macbethand Antony and Cleopatra. |
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... play, unless the members of the Chorus are reckoned among them); but it is pre-eminently the story of one person, the 'hero,'[1] or at most of two, the 'hero' and 'heroine.' Moreover, it is only in the love-tragedies, Romeo and Juliet ...
... play, unless the members of the Chorus are reckoned among them); but it is pre-eminently the story of one person, the 'hero,'[1] or at most of two, the 'hero' and 'heroine.' Moreover, it is only in the love-tragedies, Romeo and Juliet ...
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... plays this feeling increases. No doubt most of the characters in Hamlet, King Lear, Othello, or Antony and ... play that of the outward conflict. Romeo and Juliet, Richard III., Richard II., where the hero contends with an ...
... plays this feeling increases. No doubt most of the characters in Hamlet, King Lear, Othello, or Antony and ... play that of the outward conflict. Romeo and Juliet, Richard III., Richard II., where the hero contends with an ...
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... play, we slip, by our own fault or the dramatist's, from the tragic position, or when, in thinking about the play afterwards, we fall back on our everyday legal and moral notions. But tragedy does not belong, any more than religion ...
... play, we slip, by our own fault or the dramatist's, from the tragic position, or when, in thinking about the play afterwards, we fall back on our everyday legal and moral notions. But tragedy does not belong, any more than religion ...
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... play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe.[18] The application of this scheme of ...
... play, comprising the Second, Third and Fourth Acts, and usually a part of the First and a part of the Fifth. The final section of the tragedy shows the issue of the conflict in a catastrophe.[18] The application of this scheme of ...
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... play. When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety ...
... play. When Shakespeare begins his exposition thus he generally at first makes people talk about the hero, but keeps the hero himself for some time out of sight, so that we await his entrance with curiosity, and sometimes with anxiety ...
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Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth - the ... A. C. Bradley Keine Leseprobe verfügbar - 2012 |
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