...From 550 BC to 220 BC, the theatre of Ancient Greece blossomed. The god Dionysus was honored in a festival called Dionysia – from which the dramatic genres of tragedy, comedy and satyr were born. In this essay I will focus on Greek tragedy, with reference to Antigone, by outlining the basic use of dramatic style, staging including the use of masks in costume; as these features are typical of Greek theatre, but in particular I have chosen to illustrate the developments and changes in the genre of ancient Greek Tragedy, principally through the Aristotle’s commentary on the matter. Sophocles’ tragedy Antigone is an important and influential aspect of Greek theatre as he was one of the most celebrated dramatists in Athens. Antigone was written...
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...The True Tragic Hero of Antigone Since early Greek and Roman times, authors havecreated stories following the life of a tragic hero. Tragic heroes, though they are noble, have a hamartia, or a fatal flaw that causes their inevitable downfall. Sophocles utilizes the role of tragic hero to develop the theme of pride in Anitigone. The protagonist of the play is repeatedly misconceived because Sophocles develops the roles of multiple characters into ones that could be interpreted as a tragic hero. Creon is a member of the royal family of Thebes who becomes king. In assuming this role of immense power and responsibility, he faces misfortunes that lead him to tragedy. The often-misunderstood Creon is the true tragic hero in Sophocles’ play...
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...achieving perfection. Humanity as a race is imperfect, as with any other being in the world, yet there are certain aspects of the human race that the simple imperfection of humanity cannot fully prevent. Humans have an endless amount of determination if there is ample hope, they have a complete unwillingness to accept death, and most prevalent and important, they have an immeasurable greed for knowledge and the power that it contains. Victor Frankenstein from Mary Shelley’s Frankenstein and Oedipus from Sophocles’ play “Oedipus the King” both do their best to outmatch their humanity and perpetually gain as much knowledge and intellect that they can. However, they both feign a powerful wisdom and intellect when in reality they are the blindest characters in their respective novels. Firstly, within Frankenstein, Victory is constantly chasing higher knowledge. The whole basis for his creation is his endless pursuit of education in natural philosophy. Even in the face of adversity from his family, friends, teachers, and the physical laws of nature, he pursues his visions. He even describes his own guile and conviction when he claims, “...I was left to struggle with a child’s blindness, added to a student’s thirst for knowledge” (Shelley...
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...Every man has several characteristics which define him, but not all of them are beneficial. If he is not careful, certain traits can lead to his downfall. This is the very thing that happens to Oedipus in Sophocles’ tragedy, Oedipus Rex. Unfortunately, Oedipus possesses several character traits that cause him to fulfil the oracle and undergo great suffering. Oedipus’ pride, impetuous behaviour and lack of insight ultimately determine his fate. To begin, one of the main factors that lead to Oedipus’ fate is his excessive pride. After he solves the riddle of the Sphinx, his hubris swells to a new level. This leads him to believe that he is capable of solving any puzzle he might face, including the murder of Laius. After Creon tells Oedipus what the Gods require, Oedipus states to what extent he will go to avenge the previous king, Laius, as he proclaims, “No matter who he may be, he is forbidden shelter or intercourse with any man in all this country over which I rule; … Expelled from every house, unclean, accursed, in accordance with the word of the Pythian oracle” (32). This quote develops Oedipus as massively hubristic. It shows this as Oedipus takes this distinct, simple idea that Laius must be avenged and drags it out. He makes a huge presentation in front of the city and blows himself up as this hero that’s avenging the previous king. This also marks the beginning of Oedipus’ journey to discovering his fate and his downfall. Another example of how Oedipus’ pride led to...
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...A hero is a person, typically a man, who is admired or idealized for courage, outstanding achievements, or noble qualities. In most cases this is associated with literary work to refer to a person or main character of a literary work who in the face of danger, combats adversity through impressive feats of ingenuity, bravery or strength, often sacrificing his or her own personal concerns for some greater good. A tragic hero on the other hand is a protagonist of a play whose story elicits fear and empathy from the audience. A good tragedy will evoke pity and fear in its viewers, causing the viewers to experience a feeling of catharsis. In Oedipus's case, he is superior not only because of social standing, but also because he is smart; he is the...
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...characters involved. People tend to "copy" what they observe in their environment. What makes drama vast is the fact that "the essentials of drama not only inhere in social experience; in basic ways they determine it." Materials of drama were used, including music, dancing, and the reenactment of important deeds and occasions. There are five epochs in which drama flourished, namely The Greek Classics, The Middle Ages, The Elizabethan Drama, The Neo-Classical French Drama and The Modern Drama. Looking back at the history of drama, it can be seen that each of these epochs has its own contributions to the modern drama. The Greek Classics was the epoch in which drama has begun. The most influential playwrights were Aeschylus, Euripides, and Sophocles who wrote for tragedies. Another playwright known during this period was Aristophanes, who, on the other hand, wrote for comedies. Drama in The Greek Classics started out with one actor and developed until there were three. In medieval ages, there were no names of individual playwrights. Dramatic entertainments were prohibited during this time because of the discouragement...
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...Christian Lescznske Professor Larkin ELIT2055-B 31 March 2014 The Hero’s Journey: Comparing and Contrasting Heroes Joseph Campbell was an American psychologist and mythological researcher. In his lifelong research, Campbell discovered many common patterns running through hero myths and stories from around the world. Years of research lead Campbell to discover several basic stages that almost every hero-quest goes through (no matter what culture the myth is a part of). He calls this common structure “the monomyth” (Hero’s Journey). The “hero’s journey” appears in drama, storytelling, myth, religious ritual, and psychological development. It describes the typical adventure of The Hero, who goes out and achieves great deeds on behalf of the family, group, tribe, or civilization. There are twelve steps, or stages, of the typical “Hero’s Journey”. The twelve steps are: The ordinary world, the call to adventure, refusal of the call, meeting with the mentor, crossing the threshold, a test, the approach, the ordeal, the reward, the road back, the resurrection, and the return with the elixir, or reward. As I previously stated, Campbell’s monomyth works best with the traditional form of the quest such as in folk and fairy tales, myths, legends, and other fantasies. However, it can be applied to many different genres or types of stories. A quest does not have to include swords and monsters. It can just as easily occur in the real world. The monomyth is ageless and universal...
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...THE POETICS OF ARISTOTLE A TRANSLATION BY S. H. BUTCHER A Penn State Electronic Classics Series Publication THE POETICS OF ARISTOTLE trans. S. H. Butcher is a publication of the Pennsylvania State Univer- sity. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Faculty Editor, nor anyone associated with the Pennsylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. THE POETICS OF ARISTOTLE trans. S. H. Butcher, the Pennsylvania State University, Electronic Classics Series, Jim Manis, Faculty Editor, Hazleton, PA 18201-1291 is a Portable Document File produced as part of an ongoing student publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Cover Design: Jim Manis Copyright © 2000 The Pennsylvania State University The Pennsylvania State University is an equal opportunity university. THE POETICS OF ARISTOTLE THE POETICS OF ARISTOTLE Analysis of Contents A TRANSLATION BY S. H. BUTCHER I ‘Imitation’ the common principle of the Arts of Poetry. II The Objects of Imitation. III The Manner of Imitation. IV The Origin and Development of Poetry. V Definition of the Ludicrous, and a brief sketch of the rise...
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...ARTS TEACHERS’ GUIDE Grade 9 ARTS Teacher’s Guide Unit I WESTERN CLASSICAL ART TRADITIONS GRADE 9 Unit 1 ARTS TEACHERS’ GUIDE GRADE 9 Unit 1 WESTERN CLASSICAL ART TRADITIONS LEARNING AREA STANDARD The learner demonstrates an understanding of basic concepts and processes in music and art through appreciation, analysis and performance for his/her self-development, celebration of his/her Filipino cultural identity and diversity, and expansion of his/her world vision. key - stage STANDARD The learner demonstrates understanding of salient features of music and arts of the Philippines and the world, through appreciation, analysis, and performance, for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. grade level STANDARD The learner demonstrates understanding of salient features of Western music and the arts from different historical periods, through appreciation, analysis, and performance for self-development, the celebration of Filipino cultural identity and diversity, and the expansion of one’s world vision. CONTENT STANDARDs The Learner: demonstrates understanding of art elements and processes by synthesizing and applying prior knowledge and skills demonstrates understanding that the arts are integral to the development of organizations, spiritual belief, historical events, scientific discoveries, natural disasters/ occurrences and other external phenomenon ...
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...WHO WILL CRY WHEN YOU DIE - ROBIN SHARMA THE TRAGEDY OF LIFE IS NOT DEATH, BUT WHAT WE LET DIE INSIDE OF US WHILE WE LIVE. NORMAN COUSINS Contents Preface 1. Discover Your Calling 2. Every Day, Be Kind to a Stranger 3. Maintain Your Perspective 4. Practice Tough Love 5. Keep a Journal 6. Develop an Honesty Philosophy 7. Honor Your Past 8. Start Your Day Well 9. Learn to Say No Gracefully 10. Take a Weekly Sabbatical 11. Talk to Yourself 12. Schedule Worry Breaks 13. Model a Child 14. Remember, Genius Is 99 Percent Inspiration 15. Care for the Temple 16. Learn to Be Silent 17. Think About Your Ideal Neighborhood 18. Get Up Early 19. See Your Troubles as Blessings 20. Laugh More 21. Spend a Day Without Your Watch 22. Take More Risks 23. Live a Life 24. Learn from a Good Movie 25. Bless Your Money 26. Focus on the Worthy 27. Write Thank – You Notes 28. Always Carry a Book with You 29. Create a Love Account 30. Get Behind People’s Eyeballs 31. List Your Problems 32. Practice the Action Habit 33. See Your Children as Gifts 34. Enjoy the Path, Not Just the Reward 35. Remember That Awareness Precedes Change 36. Read Tuesday’s With Morrie 37. Master Your Time 38. Keep Your Cool 39. Recruit a Board of Directors 40. Cure Your Monkey Mind 41. Get Good at Asking 42. Looking for the Higher Meaning of Your Work 43. Build a Library of Heroic Books 44. Develop Your Talents 45. Connect with Nature 46. Use Your Commute Time 47. Go on a News Fast 48. Get Serious About Setting Goals 49...
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...Nicomachean Ethics Aristotle Translated by W. D. Ross Batoche Books Kitchener 1999 Contents BOOK I ....................................................................... 3 BOOK II ................................................................... 20 BOOK III .................................................................. 33 BOOK IV .................................................................. 53 BOOK V ................................................................... 71 BOOK VI .................................................................. 91 BOOK VII............................................................... 105 BOOK VIII ............................................................. 127 BOOK IX ................................................................ 145 BOOK X ................................................................. 163 BOOK I 1 Every art and every inquiry, and similarly every action and pursuit, is thought to aim at some good; and for this reason the good has rightly been declared to be that at which all things aim. But a certain difference is found among ends; some are activities, others are products apart from the activities that produce them. Where there are ends apart from the actions, it is the nature of the products to be better than the activities. Now, as there are many actions, arts, and sciences, their ends also are many; the end of the medical art is health, that of shipbuilding a vessel, that of strategy victory, that of...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...The Interpretation of Dreams Sigmund Freud (1900) PREFACE TO THE THIRD EDITION Wheras there was a space of nine years between the first and second editions of this book, the need of a third edition was apparent when little more than a year had elapsed. I ought to be gratified by this change; but if I was unwilling previously to attribute the neglect of my work to its small value, I cannot take the interest which is now making its appearance as proof of its quality. The advance of scientific knowledge has not left The Interpretation of Dreams untouched. When I wrote this book in 1899 there was as yet no "sexual theory," and the analysis of the more complicated forms of the psychoneuroses was still in its infancy. The interpretation of dreams was intended as an expedient to facilitate the psychological analysis of the neuroses; but since then a profounder understanding of the neuroses has contributed towards the comprehension of the dream. The doctrine of dream-interpretation itself has evolved in a direction which was insufficiently emphasized in the first edition of this book. From my own experience, and the works of Stekel and other writers, [1] I have since learned to appreciate more accurately the significance of symbolism in dreams (or rather, in unconscious thought). In the course of years, a mass of data has accumulated which demands consideration. I have endeavored to deal with these innovations by interpolations in the text and footnotes. If these additions do...
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...Министерство образования и науки Республики Казахстан Кокшетауский государственный университет им. Ш. Уалиханова An Outline of British Literature (from tradition to post modernism) Кокшетау 2011 УДК 802.0 – 5:20 ББК 81:432.1-923 № 39 Рекомендовано к печати кафедрой английского языка и МП КГУ им. Ш. Уалиханова, Ученым Советом филологического факультета КГУ им. Ш. Уалиханова, УМС КГУ им. Ш. Уалиханова. Рецензенты: Баяндина С.Ж. доктор филологических наук, профессор, декан филологического факультета КГУ им. Ш. Уалиханова Батаева Ф.А. кандидат филологических наук, доцент кафедры «Переводческое дело» Кокшетауского университета им. А. Мырзахметова Кожанова К.Т. преподаватель английского языка кафедры гуманитарного цикла ИПК и ПРО Акмолинской области An Outline of British Literature from tradition to post modernism (on specialties 050119 – “Foreign Language: Two Foreign Languages”, 050205 – “Foreign Philology” and 050207 – “Translation”): Учебное пособие / Сост. Немченко Н.Ф. – Кокшетау: Типография КГУ им. Ш. Уалиханова, 2010 – 170 с. ISBN 9965-19-350-9 Пособие представляет собой краткие очерки, характеризующие английскую литературу Великобритании, ее основные направления и тенденции. Все известные направления в литературе иллюстрированы примерами жизни и творчества авторов, вошедших в мировую литературу благодаря...
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...GMAT GRADUATE MANAGEMENT ADMISSION TEST McGraw-Hill’s 2008 Edition James Hasik Stacey Rudnick Ryan Hackney New York | Chicago | San Francisco | Lisbon London | Madrid | Mexico City | Milan | New Delhi San Juan | Seoul | Singapore | Sydney | Toronto Copyright © 2007 by The McGraw-Hill Companies, Inc. All rights reserved. Manufactured in the United States of America. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without the prior written permission of the publisher. 0-07-151120-2 The material in this eBook also appears in the print version of this title: 0-07-149340-9. All trademarks are trademarks of their respective owners. Rather than put a trademark symbol after every occurrence of a trademarked name, we use names in an editorial fashion only, and to the benefit of the trademark owner, with no intention of infringement of the trademark. Where such designations appear in this book, they have been printed with initial caps. McGraw-Hill eBooks are available at special quantity discounts to use as premiums and sales promotions, or for use in corporate training programs. For more information, please contact George Hoare, Special Sales, at george_hoare@mcgraw-hill.com or (212) 904-4069. TERMS OF USE This is a copyrighted work and The McGraw-Hill Companies, Inc. (“McGraw-Hill”) and its licensors reserve all rights...
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