Tragedy

Jordan, Mandy M. Building Resiliency: The Role of Faith-Based Organizations in the Trauma-Affected Community of Santa Fe, Texas. Master of Science (Applied Anthropology), August 2021, 205 pp., 2 tables, 15 figures, 8 appendices, references, 91 titles. On May 18, 2018, a shooter entered Santa Fe High School, killing eight students and two teachers. Using ethnographic methods, this research examines the role of faith, rituals, language, and symbols in the trauma-affected community during the response, recovery, and resiliency efforts as perceived by the Santa Fe community and those impacted by the tragedy. Qualitative data collected from 100 individuals ages of 17-84 illustrated how historical trauma, community culture, and faith-based organizations impact community resiliency and how illusions of a homogenous view of the community left many feeling shocked, divided, forgotten or muted.

This dissertation will argue that the early modern theatre and the early modern church were both concerned with keeping the attention of their audiences, and that one of the ways that dramatic interest in Christopher Marlowe's and William Shakespeare's plays was generated was by staging acts that can be read as ambiguous, interrupted, failed or parodic confessions, prayers, and sermons. In particular, I will argue that when the characters in Marlowe’s and Shakespeare’s tragedies fail to find solace in acts that model reformed devotional practices, they eventually suffer the strange but dramatically engaging consequences of their tragic passions like despair, hatred, jealousy, fear, and rage. This dissertation, then, will bridge the turn to religion and affect studies as a means of arguing that early modern tragedy was consumed with attracting, and sustaining, the dramatic attention of the audience. While it is not possible to say, with any finality, why tragedies hook an audience's attention, it is possible to suggest how Marlowe's and Shakespeare's tragedies used the passions generated by the failure of model devotional acts as a means of capturing and sustaining the attention of the audience.

Richard Wright's Native Son has often been read as a socially-oriented text, seemingly neglecting its existence as a literary construct. Such readings gear towards identifying the text with such societal ills as racism and environmental impact on the individual, as if these are the only business of the text.In this paper, however, attention shifts from such external referents to the text itself, deconstructing the meaning of blindness already ascribed to the text as well as the meaning of silence as it is denotatively known. The uncovering of the textual meaning of each of these concepts will also serve either to compliment a character or to disparage same, and then the interweave of both concepts will result in reading the text as a tragedy. This study will be anchored on the provisions of Derrida's deconstructive criticism.

Warum erzählt Hugo von Hofmannsthal um 1900 Geschichten noch einmal, die die Welt seit über 2500 Jahren kennt? Diese Frage führt ins Herz dieser Untersuchung, die einen neuen Zugriff auf Hofmannsthals Poetologie anhand seiner irritierend archaischen und ästhetisch so beweglichen Mythosvariationen der Jahrhundertwende vorschlägt. Die hier in den Blick genommenen Dramen suchen in einem ersten Schritt den Dialog mit ihren stets hochkarätigen Intertexten (Sophokles, Euripides, Aischylos, Nietzsche, Bachofen, Freud). Darüber hinaus aber generieren Hofmannsthals Stücke in der Friktion von theatralem und skripturalem Raum, Ritualität und Intertextualität zunächst den Aufbau (Figuration), fi nal jedoch den notwendigen Zerfall (Defi guration) der entworfenen Form (s)einer Mythosvariation. Das im Titel aufgenommene Zerstörende Zitieren beschreibt darum zum einen Hofmannsthals ebenso philologische wie poetische Technik im Umgang mit antiken Quellen, kulturphilosophischen Vordenkern und wissenschaftlichen Diskursen. Zum anderen zielt der Begriff auf die spezifi sche Darstellungsbewegung: In seinen Dramen führt Hofmanns-thal anhand des Scheiterns bestimmter repräsentationaler Formen den Einbruch von Präsenz in den Raum der Repräsentation vor. Die Abfolge von textgenerierender Figuration (Repräsentation) und einbrechender Defi guration (Numinoses, Präsenz) evoziert ein iteratives und darin genuin mythisches Erzählen. ANTONIA EDER, Studium der Neueren deutschen Literatur, Philosophie, Politologie und Psychologie an der Sorbonne IV, Paris und FU Berlin, Promotion 2010 mit vorliegender Arbeit an der Universität Tübingen.

While the tragedy of Enduring Love's plot might seem obvious, the significance of Ian McEwan's novel's tragic elements is that they could be found in several layers and do not merely lie in the unfortunate incident with which the first chapter commences or even its aftermath. The life of Joe Rose, the novel's protagonist, changes drastically after the traumatic experience, and the neglected elements in his life reappear as tragic elements. In this study, modern tragedy and Joe Rose's situation as a modern tragic hero caught in uncertainties are discussed to point out the inevitability of John Logan's tragic fall, and Joe's failure in the time of crisis and his own life.

This article reads the problem of trespass within William Shakespeare's King Lear.  I draw upon eighteenth-century jurist William Blackstone's notion of trespass, sixteenth-century jurist Jean Bodin's notion of sovereignty, in order to understand the question of property rights that emerges in Lear's abdication of his sovereignty.

Phil Callaway says, "I have a fear of speed bumps, but I'm getting over it." Janice gave Ed a birthday present of Phil Callaway's newest book 'Laugh Again like a Child'. Reading this book caused us to laugh and chuckle deeply. We hoped then that we could interview Phil. Who might have imagined that a comedian could be a missionary? Phil was told that it would never work. "I took a lot of heat early on for combining a message of humour with a message of hope in Christ. To laugh didn't seem to be the holiest of things." Becoming a missionary comedian was not intentional:

In 1968, Aimé Césaire travelled to Cuba to participate in the Havana Cultural Congress, a mass international meeting where delegates discussed the place of culture in the struggle against imperialism, neo-colonialism, and underdevelopment. Among the likes of C.L.R. James, Nicolás Guillén, René Depestre, Michel Leiris, and Daniel Guérin, it was in Havana that the Martinican politician undertook the until-now untranslated interview with Sonia Aratán for the Casa de las Américas revue and delivered his Cultural Congress conference paper – previously believed by Césaire scholars to be lost. Both texts shed light on Césaire’s little-known views on Fidel Castro, the Cuban Revolution and Marxism in the context of late-1960s tricontinentalism. By reconstructing Césaire’s exchanges with Cuban writers before and during the Congress, we propose a consideration of the role of Cuba in Césaire’s political thought as a tragic possibility, combining the catastrophe of Caribbean history with the uncertain potential of new social forms.

https://brill.com/view/journals/hima/28/2/article-p25_2.xml

Représenter la mort sur la scène classique ne va pas de soi, a fortiori
quand elle résulte d'un suicide. Au spectacle de la mort s'opposent trois obstacles majeurs : la bienséance, la vraisemblance et la morale. Racine, pourtant respectueux des règles, ponctue Bajazet, Mithridate et Phèdre par un suicide auquel assistent les spectateurs médusés. Cet article vise à explorer les motivations poétiques, esthétiques et dramaturgiques de ces suicides pour comprendre l'émotion produite sur le spectateur.

This paper makes an initial attempt to redescribe the failure of racial equality in America by making use of the idea of tragedy. I offer a reading of Antigone to stabilize the appropriateness of three ideas in support of reading the history of race in America as tragic: the problem of one thought too many, pollution, and the question, "was it worth it?" I argue, following James Baldwin, that the tragedy of race in America is initiated by the idea of white people who think they are white and that this conviction, initializes the impact of the above three ideas resulting in a society of people lacking in, as defined by Bernard Williams, agent-regret, and, thus, lacking shame.

El presente artículo se enfoca en la idea de lo trágico en Marx. Efectúa una comparación entre El Capital y los Manuscritos de economía y filosofía para concluir que la comprensión de lo que sucede con el ser humano bajo el capitalismo pasa por entender su condición trágica. Se sostiene que la tragedia es el conflicto entre el ser humano y las condiciones materiales de vida que él produce; conflicto en cuyo desarrollo el ser humano sacrifica sus fuerzas esenciales con la intención de producir nuevos contenidos de vida para él.

William Shakespeare was one of the famous English poets and writers. He considered to be the greatest English play writer. Most of his work has been translated into many languages. In this research paper I will try to talk about Shakespeare's life and his famous tragic plays.

RESUMO: As tragédias gregas apresentadas e encenadas no século V a.C. faziam parte do calendário religioso, político e social de Atenas. Com o objetivo de perceber as maneiras as quais os gregos lidavam com os ritos fúnebres na Atenas de Péricles, analisamos as tragédia Agamêmnon, Coéforas e Sete Contra Tebas escrita por Ésquilo e encenadas em 458 a.C. Assim, procuramos identificar em suas narrativas as práticas funerárias relacionadas a honra e desonra para com os mortos e ainda perceber em tais ações o reflexo dos valores que permeavam a sociedade e a política realizada entre os vivos, que abrangiam feitios religiosos, políticos e sociais, revelando assim muitos aspectos acerca da maneira de pensar e agir dos gregos antigos. Palavras-chave: Teatro grego. Ritos fúnebres. Ésquilo. ABSTRACT: The Greek tragedies presented and staged in the fifth century BC were part of Athens' religious, political and social calendar. In order to understand the ways in which the Greeks dealt with the funeral rites in Pericles' Athens, we analyzed the tragedy Agamemnon, Coophores and Seven Against Thebes written by Aeschylus and staged in 458 BC. Thus, we seek to identify in their narratives the funerary practices related to honor and dishonor towards the dead and still perceive in such actions the reflection of the values that permeated society and politics carried out among the living, which encompassed religious, political and social characteristics, thus revealing many aspects of the thinking and acting of the ancient Greeks.

This paper considers the beauty in tragedy that leads us to transcend the story we are told. This paper expounds Tolkien's vision of story and applies it to tragedy.
Originally published here: https://www.scribd.com/doc/269137829/In-formarse-Junio-2015-n51

La proposition consiste à rechercher les catégories indiquées dans le cadre de conditions déterminées d’énonciation. Il s’agit de réfléchir autour de la notion d’agent en considérant deux figures singulières : le héros tragique et le citoyen démocratique, dont les caractères nous conduisent à la situation de l’Athènes du Ve siècle. En conséquence, le problème de la volonté et la constitution d’une notion d’agent responsable seront analysés à partir de l’intersection entre le domaine du discours tragique et le domaine de l’activité politique. Dans la conjonction de ces deux domaines, le problème crucial réside en la décision comme un processus subjectif. Notre idée centrale est que la figure du héros tragique évoque, avec ambiguïté, une antithèse politique mais aussi une métaphore du citoyen démocratique. Le héros tragique est une antithèse du citoyen démocratique parce que celui-ci prend uniquement des décisions comme partie d’une organisation collective, tandis que celui-là se présente en général sous une forme tyrannique. Mais le héros tragique est aussi métaphore du citoyen démocratique dans la mesure dans laquelle le processus subjectif réalisé par le héros opère comme recours de pensée des facteurs impliqués dans la prise de décision des citoyens réunis dans l’assemblée athénienne.

Una lettura del saggio di De Sanctis sulla Fedra di Racine, contro Wilhelm Schlegel, fra Hegel e Blanchot / A Reading of De Sanctis's Essay on Racine's Phèdre, against Wilhelm Schlegel, between Hegel and Blanchot / Une lecture de l'essai de De Sanctis sur la Phèdre de RAcine: Contre Wilhelm Schlegel, entre Hegel et Blanchot

There is a long history of the uses of the term 'catharsis'. Nowadays the term usually designates a process by which the production of strong emotions by adequate representations (literature, cinema, videogames, etc.) or by real events frees the subject (the reader, the spectator, the gamer, etc.) of those very emotions. Freud also had a specific understanding of what catharsis means, and he used the word to designate what would later become the “psychoanalytic method”. However, there is a long way between those modern understandings of catharsis and the original meaning Aristotle gave to the term in his ‘Poetics’. According to Aristotle, the catharsis produced by tragedy is linked to the emotions of pity and fear. Although pity and fear are two opposite affects depending on the position of the subject relatively to an event, the spectator of the tragedy is bound to experience both of them simultaneously because of the ethical similarity the playwright must keep between him and the tragic hero. But pity and fear are also two opposite affects on the physiological level: pity is a warm affect, fear a cold one. Catharsis is then a physiological balancing of pity by fear, of warmth by cold, and reciprocally, and this continuous suppression of excesses of temperature through the tragic imitation, while bringing a feeling of relief and pleasure, rids the spectator of all excessive affects. This physiological process of catharsis, as Aristotle understood it, has little to do with the current acceptions of the notion.

Eberhard argues convincingly in his 1923 volume, Das Schicksal als poetische Idee bei Homer that fate is a narrative device in the Iliad and Odyssey which guides the narration towards resolution. As an example of fate at work, he cites the narrator harnessing fate to fulfil ‘what must happen’ when Zeus finds the deaths of Sarpedon and Hector difficult. Movement towards resolution, however, is not the only force motivating the narration. Achilles' vacillations between remaining or quitting pull the narration away from resolution: such episodes suggest the idea of an apparent freedom within fate. If Iliadic fate or free will were unwavering dogmatic notions, their coexistence would be problematic. But perhaps harmony between the two is possible when free will in the Iliad is—like Eberhard's conception of fate—a poetic or narrative device.

Contemporary critique of trope of sexual liberation in African literature is mostly replete with analysis of prostitution narratives, giving rise to an assumption and monolithic view of what sexual freedom or self-determination could mean. Such narratives, however, often do not yield arguments related to the critical capital of the salacious, since prostitution primarily involves transactional sex and not necessarily an inordinate sexual affair. This study privileges a generic divergence whereby analysis is hinged on the literary appreciation of salaciousness. Abubakar Adam Ibrahim's Season of Crimson Blossoms departs from prostitution plot to a pornographic depiction of sexual obscenity: the venereal affair between Binta Zubairu, a 55 year old widow and grandmother, and Hassan Reza, a 25 year old street gang leader. The study investigates the existential tragedy of sexual freedom by examining the extent to which sexual relationship that is considered a taboo in a given social milieu is a recipe for self-realisation. Using a feminist view of existentialism, I demonstrate how the individual will to rise above the conventional, by escaping from being a sexually deprived human to becoming one who responds to the body's need for unbridled sexual pleasure, constitutes George Lukács and Arthur Miller's ideas of modern tragedy.

Créée en 1765, la tragédie nationale s’affranchit mal de la référence antique, à la fois modèle et repoussoir. Ce nouveau genre est conçu selon une analogie avec l’univers gréco-romain néoclassique dans une dialectique d’imitation et de différenciation. Les pièces de Marie-Joseph Chénier sont emblématiques de ces relations heuristiques et permettent, avec d’autres exemples, de préciser les modalités fonctionnelles de la référence. Le « tragique à l’antique » se distingue-t-il foncièrement d’un tragique moderne ou « national » ?

This article discusses the first series of performances of Joost van den Vondel’s Brothers in Amsterdam in 1641. The drama focuses on the heart-rending decision king David has to take to follow God’s will to ratify the executions of Saul’s sons and grandsons. With the staging of Brothers Vondel made an experiment in spreading the Word of God as profoundly, but also as respectfully as possible. He avoids showing the executions explicitly. Instead he uses diverse dramatic and visual means to urge the theatregoers to create strong mental images and thus to empathize maximally with David. Vondel’s experiment in theatre practice has striking parallels with theatre theory of the same period. In his poetics Vondel’s close friend Gerardus Vossius initiates modern discussion on the overwhelming effect of dramatic performances. With the help of Longinus’s On the Sublime Vossius makes a distinction between the ‘cheap’ momentary effect of staging explicit cruelties and the long-lasting effect of our imagination. By placing the performance of Brothers at the center of attention we get a privileged view on theatre practice and related theoretical discussion on the effect of the dramatic performance in the Dutch Golden Age.

"Carter's music poses struggles of opposition, for instance in timbre (Double Concerto), space (String Quartet No. 3) or pulse (String Quartet No. 5). His preference for the all-interval tetrachords, 4–Z15 [0, 1, 4, 6] and 4–Z29 [0, 1, 3, 7], is also well known. From these facets of Carter's music, I develop a narrative interpretation of his Petrarch sonnet–inspired solo flute piece, Scrivo in Vento (1991). Specifically, I forge narrative pathways by imagining the two tetrachords as active agents opposed in competition. Previous Scrivo analyses (Capuzzo 2002; Childs 2006) stress continuity by revealing Q-transforms and common-note voice leading between the tetrachords. While acknowledging such features, my analysis emphasises oppositional struggle by tracing the tetrachords as separate entities which cooperate and conflict as they manoeuvre to outdo each other.

The analysis advances three theses: (1) it guides listening to and reading Scrivo in a way which resonates with Carter's concern for the aesthetics of oppositional struggle, his choice of a sonnet as inspiration and his affinity for all-interval tetrachords; (2) it shows that music-analytical detail can be organised into dramatic narratives by (a) projecting dramatic roles onto categories asserted by a formal theory and (b) treating the formal theory's relations metaphorically as actions performed by each role as the musical work unfolds; and (3) it shows how detailed pc-set analysis can support a Heraclitean view of music: a flux of opposing forces seeking and resisting unity."

Thesis:
Edward Albee claims in the subtitle of his drama, The Goat or Who is Sylvia?, that the play falls within the category of tragedy. In this abstract of my final thesis, I review this claim, by applying Aristotle's famous definition of Tragedy in Poetics to The Goat and comparing The Goat to other drama. Through this review I can gain a deeper understanding of whether Albee's claim holds up in Aristotle's definition, that is still widely recognized today. Another possibility may be that Albee's intention was to trick the recipient, or be ironic and critical of society by claiming such an absolute statement.

This article revisits the early realist understanding of tragedy in international relations in order to highlight its debt to continental philosophical thought and tragic theology. Far from sharing a view of tragedy as objective externality, early realists engaged with the existential conditions that make up the paradoxical structure of experience: human beings’ constant albeit frustrated striving to make the world intelligible and ascribe meaning to their actions. The upshot of this article is that early classical realists, such as Hans Morgenthau and Reinhold Niebuhr, entertained a view of tragedy as a necessary fiction, that is, a fabricated but real condition that is inextricably linked with the constitution of subjectivity and human agency. This paradoxical view of tragedy as an ‘enabling obstacle’ that contests the idea of tragic destiny as inescapable determinism finds its roots in the continental philosophical and theological background of their thought but is more consistently exhibited in Niebuhr’s theological anthropology.

Through the lens of Maria Irene Fornes’s play Mud, I interrogate the spatial dynamics of theatre in the context of Los Angeles as a historical singularity arising from financial speculation in the late 19th century. The intention is to clarify the dynamic linkages between the metabolic processes of cities—how they function as cultural and material ecologies—and the expressive processes of the kinds of theatre that arise within them. Engaging with the technoscience theory of Law and Mol, I examine Fornes’s work as a director as well as a playwright, finding that her directorial style heightens the emphasis Law and Mol place on the inevitable local variants of the technical object of tragic drama, whose differential nature as a spatial construct cannot be minimized or wished away for the sake of theoretical convenience.

O presente artigo tem como objetivo principal discutir, a partir da ékphrasis do casarão da família Maia, presente no início do romance Os Maias (1888) de Eça de Queirós, elementos que, estruturantes, convertem o espaço em alegoria que não somente é capaz de mimetizar o caráter das personagens, mas sobretudo, oráculo que é, figurar seu destino, especialmente dos protagonistas do romance português. É nosso intento demonstrar, pois, particularmente na descrição do espaço, a sobrevida de elementos típicos da tragédia antiga no romance de Eça de Queirós, entendidos como fundamentais para sua carga significativa.


Abstract: The main goal of this article is to discuss, taking as a starting point the ekphrasis of the family Maia's house, present at the beginning of the novel The Maias (1888) by Eça de Queirós, elements that structurally transform the space into allegory that is not only capable of to represent the characters, but especially, because it is a oracle, to figure the fate of these same characters, protagonists of the Portuguese novel. It is our intention to demonstrate, therefore, particularly in the description of space, the survival of typical elements of the ancient tragedy in the novel of Eça de Queirós, understood as a fundamental component for its semantic load.