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Tragedy

Tragedy
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Prince Hamlet - Wikipedia Role in the play[edit] Hamlet devises a test to see whether Claudius is guilty: he hires a group of actors to perform a play about the murder of a king in front of the royal court, and waits to gauge Claudius' reaction. When Claudius leaves the audience deeply upset, Hamlet knows that the ghost was telling the truth. He follows Claudius into his chambers in order to kill him, but stops when he sees his uncle praying; he does not want to kill Claudius while he is in a state of grace. Claudius, now fearing for his life, sends Hamlet to England, accompanied (and closely watched) by Rosencrantz and Guildenstern. In the Elsinore churchyard, two "clowns", typically represented as "gravediggers," enter to prepare Ophelia's grave. Later that day, Hamlet tells Horatio how he escaped death on his journey, disclosing that Rosencrantz and Guildenstern have been sent to their deaths instead. Views of Hamlet[edit] T. O, what a rogue and peasant slave am I! Is it not monstrous that this player here,

Mycenae Mycenae (/maɪˈsiːni/; Greek: Μυκῆναι Mykēnai or Μυκήνη Mykēnē) is an archaeological site in Greece, located about 90 kilometres (56 miles) southwest of Athens, in the north-eastern Peloponnese. Argos is 11 kilometres (7 miles) to the south; Corinth, 48 kilometres (30 miles) to the north. From the hill on which the palace was located, one can see across the Argolid to the Saronic Gulf. In the second millennium BC, Mycenae was one of the major centres of Greek civilization, a military stronghold which dominated much of southern Greece. The period of Greek history from about 1600 BC to about 1100 BC is called Mycenaean in reference to Mycenae. Name[edit] A view of the citadel. Although the citadel was built by Greeks, the name Mukanai is thought not to be Greek but rather one of the many pre-Greek place names inherited by the immigrant Greeks.[2] History[edit] The Tomb of Aegisthus outside the walls of the citadel. Neolithic to Middle Bronze Age[edit] Late Bronze Age[edit] Late Helladic I[edit]

Realism (arts) Realism in the arts may be generally defined as the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. The term originated in the 19th century, and was used to describe the work of Gustave Courbet and a group of painters who rejected idealization, focusing instead on everyday life.[1] In its most specific sense, Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution.[2] Realists rejected Romanticism, which had dominated French literature and art since the late 18th century. Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement. In general, Realists depicted everyday subjects and situations in contemporary settings, and attempted to depict individuals of all social classes in a similar manner.

Academy An academy (Attic Greek: Ἀκαδήμεια; Koine Greek Ἀκαδημία) is an institution of higher learning, research, or honorary membership. The name traces back to Plato's school of philosophy, founded approximately 385 BC at Akademia, a sanctuary of Athena, the goddess of wisdom and skill, north of Athens, Greece. In the western world academia is the commonly used term for the collective institutions of higher learning. The original Academy[edit] Before Akademia was a school, and even before Cimon enclosed its precincts with a wall,[1] it contained a sacred grove of olive trees dedicated to Athena, the goddess of wisdom, outside the city walls of ancient Athens.[2] The archaic name for the site was Hekademia, which by classical times evolved into Akademia and was explained, at least as early as the beginning of the 6th century BC, by linking it to an Athenian hero, a legendary "Akademos". The Neoplatonic Academy of Late Antiquity[edit] Renaissance academies in Italy[edit] 15th century accademie[edit]

BBC Radio 4 - In Our Time, Tragedy Tragic hero A tragic hero (or tragic heroine, if a woman) is the protagonist of a tragedy. Aristotle's tragic hero[edit] Aristotle contests that the tragic hero has to be a man “who is not eminently good and just, whose misfortune is brought about not by vice or depravity, but by some error or frailty.” He is not making the hero entirely good in which he can do no wrong but rather has the hero committing an injury or a great wrong leading to his misfortune. References[edit] Jump up ^ S.H. Sources[edit] Carlson, Marvin. 1993.

Realism - Literature Periods & Movements Literature Network » Literary Periods » Realism The dominant paradigm in novel writing during the second half of the nineteenth century was no longer the Romantic idealism of the earlier part of the century. What took hold among the great novelists in Europe and America was a new approach to character and subject matter, a school of thought which later came to be known as Realism. On one level, Realism is precisely what it sounds like. Realism coincided with Victorianism, yet was a distinct collection of aesthetic principles in its own right. Advances in the field of human psychology also fed into the preoccupation with representing the inner workings of the mind, and the delicate play of emotions. The overriding concern of all realist fiction is with character. Realist novelists eschewed many of the novel’s established traditions, most notably in the form of plot structure. In America, Samuel Clemens was the early pioneer of Realism. This article is copyrighted © 2011 by Jalic Inc.

Catharsis Dramatic uses[edit] Purgation and purification[edit] In his works prior to Poetics, Aristotle had used the term catharsis purely in its medical sense (usually referring to the evacuation of the katamenia—the menstrual fluid or other reproductive material).[10] Here, however, he employs it as a medical metaphor. F. L. Lucas maintains, therefore, that purification and cleansing are not proper translations for catharsis; that it should rather be rendered as purgation. Lessing sidesteps the medical attribution. Intellectual clarification[edit] In the twentieth century something like a paradigm shift took place in the interpretation of catharsis with a number of scholars contributing to the argument in support of the intellectual clarification concept. It is generally understood that Aristotle's theory of mimesis and catharsis are responses to Plato's negative view of artistic mimesis on an audience. Achieving catharsis in literary analysis[edit] "Catharsis" before tragedy[edit] See also[edit]

Naturalism - Literature Periods & Movements Literature Network » Literary Periods » Naturalism The logical outgrowth of literary Realism was the point of view known as Naturalism. This literary movement, like its predecessor, found expression almost exclusively within the novel. Naturalism also found its greatest number of practitioners in America shortly before and after the turn of the twentieth century. Naturalism sought to go further and be more explanatory than Realism by identifying the underlying causes for a person’s actions or beliefs. One could make the case that Naturalism merely a specialized variety of Realism. The dominant theme of Naturalist literature is that persons are fated to whatever station in life their heredity, environment, and social conditions prepare them for. The work of French novelist and playwright Emile Zola is often pinpointed as the genesis of the Naturalist movement proper. Despite his short career, Stephen Crane’s talent stands out above every other writer of the period.

Sophist Etymology[edit] From the word σοφός (sophos) is derived the verb σοφίζω (sophizo), which means "to instruct or make learned," but which in the passive voice means "to become or be wise," or "to be clever or skilled in a thing." In turn, from this verb is derived the noun σοφιστής (sophistes), which originally meant "a master of one's craft" but later came to mean "a prudent man" or "wise man The word "sophist" could also be combined with other Greek words to form compounds. Sophists of the 5th century BC[edit] Many sophists taught their skills for a price. In comparison, Socrates accepted no fee, instead professed a self-effacing posture, which he exemplified by Socratic questioning (i.e. the Socratic method, although Diogenes Laertius wrote that Protagoras — a sophist — invented the "Socratic" method[5][6]). Some scholars, such as Ugo Zilioli[9] argue that the sophists held a relativistic view on cognition and knowledge. Sophists and democracy[edit] Sophists and education[edit] Notes[edit]

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