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Artículos de revistas sobre el tema "Theory of tragedy"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 26 de julio de 2024

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1

Cho, Seung. "When Arendt Meets Tragedy: Hannah Arendt’s Apology for the Democratic Values of Tragedy." Criticism and Theory Society of Korea 26, no. 3 (2021): 321–48. http://dx.doi.org/10.19116/theory.2021.26.3.321.

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2

Dekel, Mikhal. "Tragedy Contra Theory." Comparative Literature 67, no. 4 (2015): 429–44. http://dx.doi.org/10.1215/00104124-3327563.

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3

Reynolds, Anthony. "Thinking the Ghost: Tragedy and the History of Theory." Derrida Today 14, no. 1 (2021): 49–66. http://dx.doi.org/10.3366/drt.2021.0252.

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In this paper I examine the role of tragedy in the ancient emergence of philosophical interiority and in the recent return of exteriority that marks the birth of theory. I argue that tragedy names a kind of epistemic threshold between systems of knowledge predicated on exteriority and interiority. I conclude by arguing that Derrida's late effort to articulate a messianic model of the tragic in Specters of Marx and elsewhere, his effort to “think the ghost,” both confirms and complicates tragedy's place in the history of theory.

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4

Hwang, Jung-Suk. "Tragedy of Confronting Che Vuoi?: Shakespeare’s Othello." Criticism and Theory Society of Korea 27, no. 1 (2022): 361–79. http://dx.doi.org/10.19116/theory.2022.27.1.361.

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5

Munk, Erika, Ellen Donkin, Susan Clements, and Lizbeth Goodman. "Tragedy Tomorrow, Theory Tonight?" Women's Review of Books 11, no. 3 (1993): 12. http://dx.doi.org/10.2307/4021773.

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6

Boyle, Nicholas. "GOETHE'S THEORY OF TRAGEDY." Modern Language Review 105, no. 4 (2010): 1072–86. http://dx.doi.org/10.1353/mlr.2010.0043.

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7

Deimling, Wiebke. "Kant’s Theory of Tragedy." Southwest Philosophy Review 35, no. 1 (2019): 17–30. http://dx.doi.org/10.5840/swphilreview20193513.

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8

Altman, Toby. "Live Intimate Nostalgia (theory of tragedy), and: Best Practices (theory of tragedy)." Cream City Review 39, no. 2 (2015): 131–32. http://dx.doi.org/10.1353/ccr.2015.0102.

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9

Stone, Alison. "Joanna Baillie's Theory of Tragedy." Journal of Aesthetic Education 58, no. 1 (2024): 25–45. http://dx.doi.org/10.5406/15437809.58.1.02.

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Abstract Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control.

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10

Yang, Jiawen. "Hegel’s Aesthetic Theory of Tragedy in the Light of the Three Kingdoms." Studies in Linguistics and Literature 7, no. 3 (2023): p85. http://dx.doi.org/10.22158/sll.v7n3p85.

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Hegel’s aesthetic theory of tragedy is divided into three parts: occurrence, development and resolution, in which the root cause of tragedy is conflict, the way of tragedy development is struggle, and the result of tragedy resolution is reconciliation. The ancient Chinese novel Romance of the Three Kingdoms contains conflicting loyalties and righteousness, and is set against the backdrop of war. Its tragic causes and tragic effects are in line with Hegel’s aesthetic theory of tragedy. Therefore, by analysing the ancient Chinese novel, we can gain a deeper understanding of Hegel’s aesthetic theory of tragedy.

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11

Jung, Daehun. "The Inherent Hybridity of Tragedy : Rethinking Nietzsche’s Theory of Tragedy." Modern Philosophy 21 (April 30, 2023): 37–71. http://dx.doi.org/10.52677/mph.2023.04.21.37.

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12

Salkever, Stephen G. "Tragedy. Theory and Political Education." Polis: The Journal for Ancient Greek Political Thought 10, no. 1-2 (1991): 162–68. http://dx.doi.org/10.1163/20512996-90000387.

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13

Gelven, Michael. "An existential theory of tragedy." Man and World 21, no. 2 (1988): 145–69. http://dx.doi.org/10.1007/bf01248680.

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14

Justice, Steven. "Spain, Tragedy, and The Spanish Tragedy." Studies in English Literature, 1500-1900 25, no. 2 (1985): 271. http://dx.doi.org/10.2307/450723.

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15

Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.

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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).

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16

Abdullah Mohammed Ali Khalil. "TERRY EAGLETON’S THEORY OF THE TRAGIC, REFLECTED ON CURRENT ARAB SOCIOPOLITICAL CONTEXT." Albaydha University Journal 2, no. 2 (2020): 241–47. http://dx.doi.org/10.56807/buj.v2i2.66.

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Corona virus 2019 (Covid-19) pandemic of today is a real tragedy for it has taken the lives of millions of people worldwide regardless of their social, political and material status. This will absolutely change the minds of those with classic views of tragedy. It is said that the concept of tragedy has changed greatly since early modern ages, more specifically in the sixteenth century. Modern people are supposed to view tragedy in a different way the classical people viewed it. Having grief towards an ordinary person and not a king, a queen or a prince defines modern views of tragedy. Terry Eagleton views the notion of tragedy differently, not only that, he rather redefines tragedy. The following paper would attempt to briefly engage with the following questions: why does Terry Eagleton come up with a new theory of the tragic? (in other words, what Terry Eagleton objects to in the earlier theories of tragedy?) What is his theory of the tragic? How is it relevant to our own world? Since Eagleton calls for a ‘planetary’ theory of tragedy that confronts global politics, a theory that connects art and life, I will apply some of his ‘interesting’ ideas to the contemporary situations the Arab world lives today, more specifically to the latest revolutions against some Arab tyrannical regimes.

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17

Xie, Zhixi. "The historical tragedy and the human tragedy." Frontiers of Literary Studies in China 3, no. 1 (2009): 64–96. http://dx.doi.org/10.1007/s11702-009-0003-z.

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18

Kim, Suk. "We with-in/out Us." Criticism and Theory Society of Korea 28, no. 2 (2023): 53–75. http://dx.doi.org/10.19116/theory.2023.28.2.53.

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How to make sense of what happened in Itaewon on October 29th? In hindsight, the catastrophic event which claimed the lives of 159 youths on the Halloween eve appears to have been a dire forecast of bizarre administrative debacles that were to follow under South Korea’s current regime. Yet if it seems too simplistic, or morally disingenuous, to shift the entire blame to the incompetence and misrule of the powers that be, it is because the tragedy, like so many others preceding it in Korea’s turbulent modern history, once again raises to the fore the problematic nature of communal being of which we are, even in the age of hyperreal modernity, still essentially constituted. By retracing a number of key themes running through the historic debate that took place between Jean-Luc Nancy and Maurice Blanchot in 1983 concerning the possibility (or the impossibility) of community―namely, myth, work, unworking, friendship, the death of the other, number, etc.―the present inquiry attempts to bring to bear the theoretical implications divulged in the debate upon the late Itaewon tragedy. If, as the two philosophers claim, one fundamental aspect of communal being consists in the responsibility to maintain the impossible memory the other, the other immemorially gone as well as imminently to come, then I argue that that unrepresentable other must encompass, as Derrida once argued, the non-human others.

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19

Schmidt, Brian C. "Realism as tragedy." Review of International Studies 30, no. 3 (2004): 427–41. http://dx.doi.org/10.1017/s0260210504006151.

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In 1948, Hans J. Morgenthau wrote his classic text, Politics Among Nations: The Struggle for Power and Peace, that was largely responsible for establishing realism as the prevailing theory in the field of International Relations (IR). In 1979, Kenneth N. Waltz wrote an immensely influential book, Theory of International Politics, that resulted in a new structural version of realism – neorealism – becoming the dominant theory in IR. John J. Mearsheimer, who is the R. Wendell Harrison Distinguished Service Professor of Political Science at the University of Chicago, has written a profoundly important book that rightfully deserves a prominent place along with Morgenthau and Waltz in the canon of realist thought about international politics. Mearsheimer's clearly written book puts forth a new structural theory of realism that he terms offensive realism. This version of realism argues that the observable patterns of behaviour among all of the great powers throughout history, most notably their ubiquitous power-seeking, can be explained by the fact that they exist in a condition of anarchy in which there is no higher source of authority above them. While sharing many of the same basic assumptions with neorealism, offensive realism, as elucidated by Mearsheimer, provides a fundamentally different account of the essential dynamics of international politics than that which Waltz and his students have been offering for the last twenty years or so.

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20

Sukiman, Sukiman, Anang Santoso, and Febri Taufiqurrahman. "Sistem Transitivitas dalam Wacana Berita Tragedi Kanjuruhan Malang." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 16, no. 2 (2023): 215. http://dx.doi.org/10.30651/st.v16i2.16184.

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Transitivity System in The Kanjuruhan Malang Tragedy News Discourse ABSTRAKMedia massa menyajikan informasi dari sudut pandang penulis, sehingga cenderung menimbulkan persepsi yang berbeda dari pembaca. Maka, penelitian ini bertujuan untuk mengkaji bentuk ketransitifan dalam wacana berita Tragedi Kanjuruhan dari tiga media massa online. Metode yang digunakan, yaitu kualitatif dengan pendekatan analisis wacana tentang ketransitifan dari Halliday. Data penelitian ini bersumber dari tiga media massa, yaitu Kompas, Detiknews, dan Tempo. Analisis data menggunakan model ketransitifan dari teori Linguistik Sistemik Fungsional. Dari hasil penelitian ditemukan jenis proses, yaitu material, perilaku, mental, dan relasional. Pada berita “Kontras Temukan Kejanggalan Tragedi Kanjuruhan: Aparat Dimobilisasi Pertengahan Babak Ke-dua ” ditemukan 6 proses material, 5 proses perilaku, dan 1 proses mental. Berita “4 Hal Temuan Terkini TGIPF di Tragedi Kanjuruhan” ditemukan 14 proses material, 6 proses perilaku, 1 proses mental, dan 5 proses relasional. Pada berita “8 Fakta Temuan Polri dalam Tragedi Kanjuruhan Malang” ditemukan 4 proses material, 14 proses perilaku, dan 1 proses relasional. Hal ini menunjukkan bahwa dalam penyajian berita, penulis lebih dominan menggunakan proses material dan perilaku untuk membangun narasi kepada pembaca sedangkan sirkumstan yang ditemukan menunjukkan tempat, waktu, penyerta, penyebab, dan masalah.Kata kunci: Transitivitas, Wacana, Berita, Tragedi KanjuruhanABSTRACTThe mass media presents information from the author's point of view, so it tends to generate different perceptions from readers. Thus, this study aims to examine the form of transitivity in the Kanjuruhan Tragedy news discourse from three online mass media. The method used is qualitative with a discourse analysis approach on transitivity from Halliday. The research data comes from three mass media, namely Kompas, Detiknews, and Tempo. Data analysis used the transitivity model of Systemic Functional Linguistics theory. From the research results found the types of processes, namely material, behavioral, mental, and relational. In the news "Contrast Finds Awkwardness in the Kanjuruhan Tragedy: Officials are Mobilized in the Middle of the Second Half" found 6 material processes, 5 behavioral processes, and 1 mental process. The news "4 Things TGIPF's Latest Findings in the Kanjuruhan Tragedy" found 14 material processes, 6 behavioral processes, 1 mental process, and 5 relational processes. In the news "8 Facts of Police Findings in the Kanjuruhan Malang Tragedy" found 4 material processes, 14 behavioral processes, and 1 relational process. This shows that in presenting news, the author is more dominant in using material processes and behavior to build narratives for readers while the circumstance found shows place, time, accompaniment, causes, and problems.Keyword: Transitivity, Discourse, News, Kanjuruhan Tragedi

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21

Diamond, Elin. "Churchill's Tragic Materialism; or, Imagining a Posthuman Tragedy." Publications of the Modern Language Association of America 129, no. 4 (2014): 751–60. http://dx.doi.org/10.1632/pmla.2014.129.4.751.

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It would seem impossible to wrench dramatic tragedy away from humanism. In their encounters with fate, capricious gods, or a corrupt polis, tragedy's protagonists confront the injustice and futility of existence, and in their suffering and defeat they affirm the “indomitability of the human spirit,” the preeminent value of human life. Certainly this is George Steiner's view in The Death of Tragedy (1961), although his conservative hierarchies (no gods, no tragedy) have been refuted by critics who argue that there is profound tragedy in ordinary life (Williams; Eagleton; Poole) and that tragedy “continually adapts itself to the conditions of experience” (States 199). However, even Steiner's debunkers embrace his notion of tragedy as extremity, as an encounter with extrahuman forces and suffering far exceeding human guilt. So, I argue here, does the British playwright Caryl Churchill, who in 1994 produced a diptych of contemporary tragedy: The Skriker, first mounted in January 1994, and her translation of Seneca's Thyestes, staged just four months later. Taken together these plays absorb the “conditions of experience” of the mid-1990s in the West. Along with the horrors of the Bosnian War and continuing environmental and economic crises, such conditions might well include the widely touted mapping of the human genome, begun in 1990 and concluded in 2003, and, concurrently, a popular and scholarly fascination with affects, intensities, and “the lively immanence of matter” (Coole and Frost 9). What happens to the humanist foundations of tragedy when understandings of the human are subjected to these “new materialisms”? Churchill's The Skriker, along with her translation of Thyestes, invites us to imagine a seeming oxymoron, a posthuman tragedy.

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22

Diamond, Elin. "Churchill's Tragic Materialism; or, Imagining a Posthuman Tragedy." PMLA/Publications of the Modern Language Association of America 129, no. 4 (2014): 751–60. http://dx.doi.org/10.1632/s0030812900115032.

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It would seem impossible to wrench dramatic tragedy away from humanism. In their encounters with fate, capricious gods, or a corrupt polis, tragedy's protagonists confront the injustice and futility of existence, and in their suffering and defeat they affirm the “indomitability of the human spirit,” the preeminent value of human life. Certainly this is George Steiner's view in The Death of Tragedy (1961), although his conservative hierarchies (no gods, no tragedy) have been refuted by critics who argue that there is profound tragedy in ordinary life (Williams; Eagleton; Poole) and that tragedy “continually adapts itself to the conditions of experience” (States 199). However, even Steiner's debunkers embrace his notion of tragedy as extremity, as an encounter with extrahuman forces and suffering far exceeding human guilt. So, I argue here, does the British playwright Caryl Churchill, who in 1994 produced a diptych of contemporary tragedy: The Skriker, first mounted in January 1994, and her translation of Seneca's Thyestes, staged just four months later. Taken together these plays absorb the “conditions of experience” of the mid-1990s in the West. Along with the horrors of the Bosnian War and continuing environmental and economic crises, such conditions might well include the widely touted mapping of the human genome, begun in 1990 and concluded in 2003, and, concurrently, a popular and scholarly fascination with affects, intensities, and “the lively immanence of matter” (Coole and Frost 9). What happens to the humanist foundations of tragedy when understandings of the human are subjected to these “new materialisms”? Churchill's The Skriker, along with her translation of Thyestes, invites us to imagine a seeming oxymoron, a posthuman tragedy.

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23

Roche, Mark W. "Introduction to Hegel's Theory of Tragedy." PhaenEx 1, no. 2 (2007): 11. http://dx.doi.org/10.22329/p.v1i2.222.

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24

Murray, Penelope. "Tragedy." Classical Review 49, no. 1 (1999): 4–6. http://dx.doi.org/10.1093/cr/49.1.4.

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25

Streete, A. "Rethinking Tragedy." English 60, no. 228 (2010): 92–94. http://dx.doi.org/10.1093/english/efp054.

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26

Ascher, Leona, and C. Fred Alford. "The Psychoanalytic Theory of Greek Tragedy." Classical World 87, no. 6 (1994): 518. http://dx.doi.org/10.2307/4351584.

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27

Yaari, Nurit. "Greek Tragedy in Theory and Praxis." Maske und Kothurn 35, no. 1 (1989): 7–20. http://dx.doi.org/10.7767/muk.1989.35.1.7.

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28

Burnett, Anne Pippin, and C. Fred Alford. "The Psychoanalytic Theory of Greek Tragedy." American Journal of Philology 115, no. 3 (1994): 461. http://dx.doi.org/10.2307/295372.

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29

FINKELBERG, MARGALIT. "ARISTOTLE AND EPISODIC TRAGEDY." Greece and Rome 53, no. 1 (2006): 60–72. http://dx.doi.org/10.1017/s0017383506000039.

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It is no exaggeration to say that Aristotle's Poetics is one of the most influential documents in the history of Western tradition. Not only, after its re-discovery in the early sixteenth century, did it dominate literary theory and practice for no less than three hundred years. Even after it had lost its privileged status – first to the alternative theories of literature brought forth by the Romantic movement and then to the literary theory and practice of twentieth-century modernism – the Poetics still retained its role of the normative text in opposition to which those new theories were being formulated. It will suffice to bring to mind the explicitly non-Aristotelian theory of drama developed by Bertold Brecht to see that, even when rejected, it was the Poetics that dictated the agenda of the theorists.This has changed in the last thirty years, with the emergence of post-modern literary theory. Although in the questioning of the notions of closure, of artistic illusion, of unity of plot the post-modern theory owes much more than it cares to admit to such modernists as Brecht or Adorno and through them to Aristotle, the damnatio memoriae it has imposed on the Poetics is so thorough that some theorists seem to be hardly aware of the very fact of its existence. This is probably why many theorists, in their privileging of emotional distancing over identification, meta-theatrality over illusion, formal and semantic openness over determinacy and closure, find their models in Chinese, Japanese, Indian, and other non-Western literary traditions rather than in ancient Greece. That is to say, in so far as Aristotle is no longer considered relevant to literary theory, Greek literary tradition too is not considered relevant. The tacit presupposition on which this attitude is based is that Aristotle's Poetics adequately represents ancient Greek literary practice.

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30

Lehmann, Hans-Thies. "Thinking/Tragedy/Thinking Tragedy: Remarks on the Fate of Theory on Stage." Anglia 136, no. 1 (2018): 61–74. http://dx.doi.org/10.1515/ang-2018-0009.

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AbstractThe article thematizes the uniquely complex relation between theory and theatre by focusing on the specific case of theory presented on stage. Part One exposes an aporia of classical aesthetics: the aesthetic object is conceived as different from thought but at the same time it is demanded that its nucleus is thought. Commenting on a particularly telling example of theory on stage: Karl Marx: Das Kapital, Erster Band von Rimini Protokoll (2006), it is argued that the power of the performance is able to uncover under the surface of a seemingly well-known and well-ordered theory a mostly overlooked element of madness. Part Two deals with the Aristotelian gesture of thinking tragedy as a para-logical reality. The ‘logification’ of the aesthetic overlooks (or ‘forgets’) that all theoretical positing loses necessarily its earnest when appearing on stage. The paper concludes with a reflection on the enduring ‘unconscious’ Aristotelianism of the discourse on theatre and tragedy. Drawing on the research of Ulf Schmidt, the irreconcilable contradictoriness of the concepts of nous and fantasia is exposed which leads time and again to the hatred for the unruly playfulness of theatre in the classic tradition. The nobilitation of tragedy by Aristotle as more ‘philosophical’ than historiography must be unmasked as a ‘Trojan horse’ which serves the subordination of the tragic play to the jurisdiction of the philosophical discourse. Resisting theory’s attempt to transform the theatrical play into a mere double of a conceptual contradiction, theatre must insist on its moment of opaqueness, sheer materiality, defiant unreasonability.

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31

Turley, Elliott. "Martin Revermann. Brecht and Tragedy: Radicalism, Traditionalism, Eristics." Modern Drama 66, no. 1 (2023): 135–37. http://dx.doi.org/10.3138/md-66-1-rev6.

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Brecht and Tragedy gives a genealogical account of Brecht’s engagement with tragedy and uses tragedy as a lens to analyse several Brechtian works and ideas. Exhaustively researched, it is valuable both for its detailed work on Brecht and tragedy and its analysis of Brecht’s theatre more broadly.

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32

Barnes, Daniel. "THE ART OF TRAGEDY." Think 10, no. 28 (2011): 41–51. http://dx.doi.org/10.1017/s1477175611000017.

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In this essay, I want to provide an introduction to Aristotle's theory of the Greek Tragedy, which he outlines in his book, the Poetics. Many philosophers since Aristotle, including Friedrich Nietzsche and Walter Benjamin, have analysed tragic art and developed their own theories of how it works and what it is for. What makes Aristotle's theory interesting is that it is as relevant to art today as it was in Ancient Greece because it explains the features of not just tragic art, but of the films and stories that we enjoy today. I will explain the features that Aristotle says make a good tragic play and give examples of them from popular culture. The examples I give will be from tragedy, but also from romance, crime and fantasy to demonstrate how he has outlined, not just the features of Greek Tragedy, but also the internal workings of the drama that we enjoy today. The contemporary relevance of Aristotle's theory is in the fact that the features he outlines are basic features of great stories, which I think is best illustrated by applying Aristotle's analysis to popular Hollywood movies.

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33

Urban, David V. "Transcending Justice, Transcending Human Control: Overarching Providence in Shakespeare's Comedies and Romances." Ben Jonson Journal 31, no. 1 (2024): 72–93. http://dx.doi.org/10.3366/bjj.2024.0362.

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This essay discusses how in Much Ado About Nothing, Measure for Measure, The Winter's Tale, and The Tempest, providential events that work over and above those plays' benevolent manipulators serve to help bring about these plays' comic endings in ways that transcend human control, both its well-intended aspects as well as its problematic aspects. These providential events also offer grace and mercy toward the plays' various transgressors who, demonstrating repentance, are freed from the justice their transgressions merit and are consequently granted hopeful futures. By contrast, in the tragedies Romeo and Juliet, Othello, and King Lear, acts of misfortune help aid the malevolent machinations of those characters that manipulate others for their own wicked ends. But these incidents of bad fortune are not sufficient to bring about tragedy, but rather act in conjunction with the stubborn and violent decisions of the tragedy's protagonists, whose poor choices coincide with unfortunate developments to bring about tragedy for the protagonists and those whom they love. This essay maintains that the workings of Providence in these comedies and romances is in keeping with the Christian grounding evident throughout Shakespeare's dramas, concluding that in a fallen world, tragedy is normative, whereas providential intervention is necessary for the happy endings of the discussed comedies and romances.

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34

Miani (book author), Valeria, Valeria Finucci (book editor), Julia Kisacky (book translator), and Laura Giannetti (review author). "Celinda: A Tragedy." Quaderni d'italianistica 32, no. 2 (2012): 225–26. http://dx.doi.org/10.33137/q.i..v32i2.16330.

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35

Hoover, Marjorie L., Vladimir Gubaryev, Michael Glenny, and Robert Peter Gale. "Sarcophagus: A Tragedy." World Literature Today 62, no. 3 (1988): 473. http://dx.doi.org/10.2307/40144396.

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36

Emerson, O. B., and Warwick Wadlington. "Reading Faulknerian Tragedy." American Literature 61, no. 1 (1989): 124. http://dx.doi.org/10.2307/2926537.

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37

Solheim, James. "Kanna Mackett's Tragedy." Chicago Review 35, no. 4 (1987): 80. http://dx.doi.org/10.2307/25305379.

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38

Paster, G. K. "English Renaissance Tragedy." Modern Language Quarterly 48, no. 2 (1987): 186–88. http://dx.doi.org/10.1215/00267929-48-2-186.

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39

Bassett, J. E. "Reading Faulknerian Tragedy." Modern Language Quarterly 48, no. 4 (1987): 396–401. http://dx.doi.org/10.1215/00267929-48-4-396a.

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40

COULTON, JOHN. "PRINCIPLES OF TRAGEDY." English Studies in Africa 31, no. 2 (1988): 79–89. http://dx.doi.org/10.1080/00138398808690850.

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41

Dienstag, Joshua Foa. "Tragedy, Pessimism, Nietzsche." New Literary History 35, no. 1 (2004): 83–101. http://dx.doi.org/10.1353/nlh.2004.0017.

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42

Rosslyn, F. "Tragedy and Emancipation." Cambridge Quarterly 30, no. 4 (2001): 307–18. http://dx.doi.org/10.1093/camqtly/30.4.307.

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43

Wallace, Jennifer. "Tragedy in China." Cambridge Quarterly 42, no. 2 (2013): 99–111. http://dx.doi.org/10.1093/camqtly/bft017.

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44

Mangrum, Benjamin. "Tragedy, Realism, Skepticism." Genre 51, no. 3 (2018): 209–36. http://dx.doi.org/10.1215/00166928-7190493.

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45

Lempert, Manya. "Climate Tragedy." Cambridge Journal of Postcolonial Literary Inquiry 8, no. 2 (2021): 195–213. http://dx.doi.org/10.1017/pli.2020.39.

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Resumen

I hypothesize that tragedy is the genre best suited to represent climate catastrophe. Tragedy, I contend, is committed to diagnosing the ideological and material conditions that make for mass, undeserved suffering—conditions of colonization and racialization, for instance, in Greek and modern drama and in modern tragic fiction. Not only does tragedy reveal injurious forms of power, it stages or incites rebellious collective action against them. These features of literary tragedy, I suggest, are non-Aristotelian. Aristotle lodges the source of crisis in individuals, who inadvertently cause their own misfortunes and suffer from them. The literary tragedy that I theorize, however, locates the origins of communal suffering in external agents of death and domination.

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46

Chen, Jun, and Shouhua Qi. "Tragedy, No Tragedy, and Tragedy with Chinese Characteristics? One Hundred Years of Debate with a ‘Happy Ending’." Cambridge Quarterly 49, no. 1 (2020): 55–71. http://dx.doi.org/10.1093/camqtly/bfz036.

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47

Jones, Richard, and Barbara Goff. "History, Tragedy, Theory: Dialogues on Athenian Drama." Classical World 91, no. 5 (1998): 437. http://dx.doi.org/10.2307/4352136.

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Goins, Scott, and George F. Held. "Aristotle's Teleological Theory of Tragedy and Epic." Classical World 92, no. 5 (1999): 476. http://dx.doi.org/10.2307/4352335.

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49

Saxonhouse, Arlene W. "Ancient Greek Tragedy Speaks to Democracy Theory." Polis: The Journal for Ancient Greek Political Thought 34, no. 2 (2017): 187–207. http://dx.doi.org/10.1163/20512996-12340123.

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Abstract This essay initially distinguishes Athenian democracy from what I call ‘hyphenated-democracies’, each of which adds a conceptual framework developed in early modern Europe to the language of democracy: representative-democracy, liberal-democracy, constitutional-democracy, republican-democracy. These hyphenated-democracies emphasize the restraints placed on the power of political authorities. In contrast, Athenian democracy with the people ruling over themselves rested on the fundamental principle of equality rather than the limitations placed on that rule. However, equality as the defining normative principle of democracy raises its own problems, namely: How do we – of limited vision – identify who is equal, and what injustices attend the criteria used to establish who is equal? Consideration of several ancient tragedies illustrates how the Athenian playwrights explored these questions and how they identified the challenges faced by those who understand democracy as grounded on egalitarian principles.

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50

Yu, Kyungah. "An Examination of Tragedy and Catharsis from the Perspective of Cognitive Developmental Theory - Focusing on Kohlberg’s Tragedy Theory -." Journal of Moral & Ethics Education 81 (November 30, 2023): 151–76. http://dx.doi.org/10.18338/kojmee.2023..81.151.

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