The Construction of Tragedy: HubrisMary A. Mann, 2004 - 228 sider A beacon for the 21st century is an understanding of the Science of Being Altogether as practiced by the great tragic dramatists. An integral part of the art form of tragedy is deemed to be the dramatists' adherence to the philosophy of the Science of Being Altogether where the artist becomes intuitive scientist in creating a microcosm of the universe itself. Six plays Antigone, Hamlet, King Lear, Murder in the Cathedral, A Man for All Seasons, The Condemned of Altona are analyzed in similar format in HUBRIS, The Construction of Tragedy. Societies and forms of government may vary but humanity itself does not change significantly. Antigone, Hamlet and Albany in King Lear are deeply aware of mortals' cosmic connection and the responsibilities resultant from it. Hubris in human activity such as domination, exemplified by Creon in Antigone, and martyrdom extolled by More in A Man for All Seasons and Thomas in Murder in the Cathedral can be understood to be scientifically untenable and destined to be chastened or broken by the universal life force. The Condemned of Altona addresses the 20th century disconnect of human morality from cosmic harmony. At the end of each play's analysis, a section is devoted to its contemporary relevance. Contemporary issues as fear of dialogue, domination , martyrdom, religious fervor and ideological hatred, and the slide into hopelessness all fit into patterns of human behavior that are explored in tragedy. |
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... relevance and refer to the metaphysics as you go along . Preface to the 2003 Edition ........ Note to the First Edition Introduction ........ Foreword .. .xiii xix xxi ... xxiii Chapter I The Metaphysics of Tragic Construction ....... 1 ...
... of Creon's bid for power ..... ..... 45 VII . The role of the chorus 48 VIII . The average mortal ....... .... 49 IX . The contemporary relevance of Antigone ....... .... 50 CHAPTER III Hamlet ..... ..... 55 I. The state of.
... relevance of Hamlet 74 CHAPTER IV King Lear 79 I. The raw material . The initial state of affairs in the prepared material 81 II . The political unifier and its relationship to Shakespeare's audience . 82 III . The source of conflicting ...
... relevance of King Lear . ..... 104 CHAPTER V Murder In The Cathedral .............. 109 I. Introduction .. 111 II . The raw material . The historical sequence ......... 111 III . The prepared material .......... 112 IV . The state of ...
... relevance of the Greek and Shakespearean classical tragedies ... 180 ..... 183 VI . The state of the art . The importance of the study of the art form .......... 184 VII . The preservative feature in the highest form of X.
Indhold
1 | |
10 | |
11 | |
constructed tragedy | 23 |
Characterits ethical nature | 25 |
The consideration of the audience in determining the plays magnitude | 26 |
The function of language | 28 |
The aftermath of tragedy | 29 |
The cosmic imbalance caused by murder and its mortal | 63 |
The political structure of Denmark and the art | 71 |
King Lear | 79 |
The ethicality of Albanys contribution to the highest | 86 |
Political awareness in Albany and Cordelia Kent and | 93 |
The art of personal survival in postLear Britain Edgar | 102 |
Murder In The Cathedral | 109 |
The mystic circle The relationship of the priests | 116 |
Antigone | 31 |
which the play is prepared | 33 |
The state of affairs in the play | 34 |
The plot Its relationship to a universal truth The meaning of fidelity of correspondence through all dimensions from innerpersonal to cosmic | 35 |
The energy drive of honor due to the dead as motivated by Antigone in her heightened role as sibling | 37 |
The role of Teiresias seer and intermediary | 43 |
The energy drive of Creons bid for power | 45 |
The role of the chorus | 48 |
The average mortal | 49 |
The contemporary relevance of Antigone | 50 |
Hamlet | 55 |
The moment of choice for Thomas | 122 |
The energy drive of More How it is affected by human | 134 |
The role of the woman Her assigned importance | 140 |
The natural paradigm for classical tragedy | 147 |
The highest energy drive Economic growth and the will | 153 |
From Franz to Hitler and back Dictatorial prevailing | 162 |
The responsibility of the tragedian to portray tragic | 170 |
Structuring the prepared material Deciding upon | 178 |
The state of the art The importance of the study of | 184 |