Antigone Vs Creon Tragic Hero Examining the Traits Listed Below, Find Textual Evidence Throughout the Play That Proves This Character’S Status As a Tragic Hero
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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’. -
2-Łamanie (11).Indd
Yearbook of Conrad Studies (Poland) Vol. 11 2016, pp. 75–86 doi: 10.4467/20843941YC.16.005.6851 ROMEO AND JULIET: A NEW CONTEXT FOR VICTORY? Nic Panagopoulos National & Kapodistrian University of Athens Abstract: The contention of the present comparative study is that the closest Shakespearean work to Conrad’s Victory is not The Tempest, as has previously been thought, but Romeo and Juliet. Besides various thematic links between these two texts, also noted by Adam Gillon (1976), I argue that Victory and Romeo and Juliet are connected on the level of genre, plot, and characterization, with whole scenes in Conrad’s novel mirroring those in Shakespeare’s play. In conclusion I suggest that the striking similarities between the two works can either be explained by a conscious desire on Conrad’s part to imitate Shakespeare’s art, or by a kind of involuntary emulation, whereby the nov- elist had so far assimilated the Bard’s work as to follow it unconsciously while composing his own novel. Keywords: Conrad and Shakespeare, tragedy/comedy, mirroring, Victory, Romeo and Juliet, com- parative study, cryptomnesia In his famous extended essay “Joseph Conrad and Shakespeare,” the late Adam Gillon does a remarkable job of tracing the many textual and thematic parallels between Conrad’s major works and virtually the whole Shakespearean canon. He be- gins by pointing out that Conrad could have read The Two Gentlemen of Verona at the age of eight as his father was translating many of the Bard’s works into Polish around 1856. As is often the case, Shakespeare must have been one the fi rst writers that the young and impressionable Conrad was exposed to, and certainly one of the fi rst English writers in that category. -
AP English Literature Required Reading
Kerr High School AP English Literature Summer Reading 2019 Welcome to AP Literature! I’m fairly certain you are parched and thirsty for some juicy reading after a year of analyzing speeches and arguments, so let us jump right in. After months of deliberation and careful consideration, I have chosen several pieces from as far back as 429 BC Athens, to 1200 AD Scotland, venturing on to Africa 1800s, and finishing up in 20th century Chicago. Grab your literary passport and join me as we meet various tragic heroes and discover their tragic flaws and tragic mistakes. You will learn the difference between an Aristotelian tragic hero and a Shakespearean tragic hero, not to mention gain a whole bunch of insight into the human condition and learn some ancient Greek in the process. I made sure each piece is available in PDF online. If you choose to use the online documents, be certain you are able to annotate and have quick access to the annotated text for class discussions. The only AP 4 summer writing you will do is five reading record cards. Four of your reading record cards could include all of the required summer reading pieces. It is my expectation that you earnestly read, annotate, and ponder each of the required pieces and be ready to launch into discussion after your summer reading exam. Heavily annotated notes on the four attached tragic hero articles and your handwritten reading record cards will count as one major grade and are due Thursday, August 15, by 3:00 pm. Instructions for the reading record cards are attached. -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World
Leonard, Philip. "Global Catastrophe." Orbital Poetics: Literature, Theory, World. London: Bloomsbury Academic, 2019. 107–140. Bloomsbury Collections. Web. 28 Sep. 2021. <http:// dx.doi.org/10.5040/9781350075115.ch-005>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 28 September 2021, 23:01 UTC. Copyright © Philip Leonard 2019. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 5 Global Catastrophe The end of the world, Shakespeare’s Lear tells us, will come when a vengeful nature overwhelms all that is known: Blow, winds, and crack your cheeks! Rage, blow! You cataracts and hurricanoes, spout Till you have drench’d our steeples, drowned the cocks! You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o’ the world, Crack Nature’s moulds, all germens spill at once That make ingrateful man! (3.2.1–9) At this moment in the play, Lear has descended into madness following the catastrophic collapse of both family and kingdom. The bonds of blood and the principle of sovereign authority have been betrayed, and as a result civilization as he understands it has fallen into disarray. ‘Blow, winds, and crack your cheeks’ is his desperate apostrophe to an enraged nature that is unmoved by the plight of a humanity that struggles with its place in the world, and Lear addresses the unruly storm that engulfs him not to seek deliverance or absolution, but to yield to a greater authority. -
Conventions of the Play
Conventions of the Play Nikpreet Singh (SVV@G_D@VVG) Colin Ludwig Mu’az Abdul-aziz Julian Stanley IB English 12 Formal Structure Prologos ● Entire part of an ancient Greek play that precedes the parodos (an ode sung by the chorus at the entrance). Formal Structure Episodes ● One series of events throughout the course of the drama. Formal Structure Exodus ● Final scene or departure How do you think the final messenger influenced the exodus? DQ 1 Discussion: 1) Who? 2) Purpose? 3) Impact? “You are right; there is sometimes danger in too much silence” (1324). Use of Peripeteia and Anagnorisis Peripeteia = turning point or shift in the drama Page 2088 when the chorus begins speaking Anagnorisis = “recognition” When a character makes a crucial finding ● Find an example on page 2083 Conventions of a play Use of Chorus- Acts as a narrator for the play, giving info not given from the actors themselves How does Sophocles use the chorus as a proactive character and how would the story change if he used a different form of narration? DQ 2 ● Uses the chorus to ask question to Creon and find out what he’s thinking ● Chorus is the one who tells the messenger to go look for Conventions of a play Conventional Characters- Stereotypical characters that are usually flat Messengers used to deliver off stage to the audience Blind Seer- embodies a contradiction High Status Characters High on the social ladder, placed in a position of power In Antigone, status contributes to the pride of Creon and how he handles Antigone’s ‘crime’ Conventions of the Tragic Hero Aristotle’s Poetica: •This text is Aristotle’s theory on drama, and the general effects of drama on humanity. -
Deal Simultaneously with Literary Forms. with the Chronological
.1\ * 4 411, 1, 1, 44' .041. 1 t i s 4 I .4 . DOCUMBN.T RESti.01E ED 033 114 . I. f g , .to O . 604 4 0,4 re 44 4. I 'to TE 001 533 By Sauer, Edwin H. I to *. t et°. Sequence and Uniformity in the High School Literature Program. o Metropolitan Detroit Bureau of School Studies. Inc.. Mich. ' Pub Date 28 Mar' 63 .., . 4 Y. 1* Note-16p.; Address before the 13th Annual English Conferenceof the Metropolitan Detroit Bureau of School Studies. Detroit. Michigan. EDRS Price MF -$025 HC -$0.90 Descriptors -Classic& Literature. Comedy. Curriculum. *Curriculum Design.Drama. *English. English Instruction. Literary Genres. Literary History. *Literature. Mythology. Novels.Poetry. Satire. *Secondary Education. *Sequential Programs. Thematic Approach. Tragedy A good. sequential literatureprogram for secondary school students should deal simultaneously with literary forms. with thechronological development of literature, and with broad themes of humanexperience. By employing the abundance of teaching aids.texts. and improved foreign translations available today.an imaginatively planned program can help studentsdiscover themselves as wellas become aware of their cultural heritage and rapidlychanging world. In grades 7-9. such a program should include mythology from all periodsand cultures. the literature of the great heroes from Agamemnonto Robert E. Lee. and the mysteryor cycle plays of the English Middle Ages. In grades 10-12.the lyric poem. satire and irony. the comic and tragic hero. the comedy ofmanners. the 'problem drama. the historical romance. the social novel, the novel of sensibility, the theme ofmovement, and such non-literary components as current eventsmay be covered. -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Response: Hamartia in Greco-Roman Context
“Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources. -
Greek Theory of Tragedy: Aristotle's Poetics
Greek Theory of Tragedy: Aristotle's Poetics The classic discussion of Greek tragedy is Aristotle's Poetics. He defines tragedy as "the imitation of an action that is serious and also as having magnitude, complete in itself." He continues, "Tragedy is a form of drama exciting the emotions of pity and fear. Its action should be single and complete, presenting a reversal of fortune, involving persons renowned and of superior attainments, and it should be written in poetry embellished with every kind of artistic expression." The writer presents "incidents arousing pity and fear, wherewith to interpret its catharsis of such of such emotions" (by catharsis, Aristotle means a purging or sweeping away of the pity and fear aroused by the tragic action). The basic difference Aristotle draws between tragedy and other genres, such as comedy and the epic, is the "tragic pleasure of pity and fear" the audience feel watching a tragedy. In order for the tragic hero to arouse these feelings in the audience, he cannot be either all good or all evil but must be someone the audience can identify with; however, if he is superior in some way(s), the tragic pleasure is intensified. His disastrous end results from a mistaken action, which in turn arises from a tragic flaw or from a tragic error in judgment. Often the tragic flaw is hubris, an excessive pride that causes the hero to ignore a divine warning or to break a moral law. It has been suggested that because the tragic hero's suffering is greater than his offense, the audience feels pity; because the audience members perceive that they could behave similarly, they feel pity. -
Jocasta and the Sin of Thebes Bernadette Waterman Ward
Jocasta and the Sin of Thebes Bernadette Waterman Ward ABSTRACT: The tragic victim of Oedipus the King is not Oedipus, who after his sufferings shall be raised to divinity; it is his mother Jocasta. She attempted the death by her torture of her own son. When she discovers that he has survived and is her husband, she seeks even to continue her mother-son incest so as to conceal her misdeeds. Cowardly silence among the citizens of doomed Thebes seals their collusion in evil. An examina- tion of the culture of the fatal city can bring the play more vitally into the world that our students actually inhabit, and serve as a warning against the moral collapse that encourages the killing of children. EDIPUS THE KING, the most famous drama of Sophocles, invites many approaches in the classroom. One can delve into such Oquestions as the proper limits of human knowledge, the relation of fate and freewill, responsibility for inadvertent crime, the proper understanding of piety and the power of the gods, and the relation of kingship and self-sacrifice. One can address hubris – pride, overreaching – and hamartia – the mistake or tragic flaw. One can trace dramatic irony in the images of vision and deliberate blindness, or perhaps, with Freud leering in the background, contemplate sexual taboos. Many scholars investigate the guilt of Oedipus, but rarely does the focus shift from the polluted scapegoat to the deep corruption in the scapegoating city of Thebes. The Thebans cast out Oedipus as impure, but in fact they cause their own destruction. By considering the fate of the city, rather than that of Oedipus, our students can make this play vital in the world that we actually inhabit.