Heroism and Its Discontents II: Galileo, a Tragic Hero of Science?

2021 ◽  
pp. 409-419
Keyword(s):  
Tragic Hero

Updating the tragic hero epos

2002 ◽  
Vol 47 (1-2) ◽  
pp. 217-222
Author(s):  
Sabina Ispas
Keyword(s):  
Tragic Hero

MONTHERLANT'S CONCEPTION OF THE TRAGIC HERO

1960 ◽  
Vol XIV (1) ◽  
pp. 18-37
Author(s):  
P. J. NORRISH
Keyword(s):  
Tragic Hero

Hegel on Sophocles’ Oedipus the King and the Moral Accountability of Ancient Tragic Heroes

2018 ◽  
Vol 41 (2) ◽  
pp. 159-176 ◽  
Author(s):  
Rachel Falkenstern
Keyword(s):  
Historical Account ◽  
Right Action ◽  
Tragic Hero ◽  
Moral Accountability ◽  
The Right

AbstractThis paper argues that Hegel’s account of subjectivity and agency as historically coined is essential to an accurate understanding of his theory of tragedy. Focusing on Sophocles’ Oedipus the King, I argue that Hegel’s historical account of agency is necessary for understanding his theory of the ancient tragic hero. Although Hegel’s theory of ancient tragedy is often described in terms of a conflict between ethical spheres embodied in two individuals, the conflict in Oedipus is between Oedipus’ deeds and his later knowledge of what has actually occurred. I show how this seemingly subjective conflict is in keeping with Hegel’s theory. Further, while Hegel sees Oedipus as wrong to take full moral accountability for the consequences of his deeds, at the same time, for Hegel, this is the right action for a tragic hero, and the very thing that renders Oedipus timelessly and tragically heroic, rather than a mere victim of fate.

scholarly journals Paradox and Tragedy in Dennis Lehane’s Shutter Island and Seneca’s Oedipus Rex: A Comparative Study

2021 ◽  
pp. 49-56
Author(s):  
Ms Sanjana Kundaliya ◽  
Dr M S Saritha
Keyword(s):  
Comparative Study ◽  
Artistic Expression ◽  
Tragic Hero

The stratagem of employing paradoxical scenario in any form of artistic expression has been a timeless creative scheme. A very famous example of paradox may be seen within Sophocles’ Oedipus Rex, with the titular character’s pursuit of truth and goodwill leading to his own tragic downfall. Similarly, tragic expression has been at the centre of humans’ outlet for cathartic release. Thus, both paradox and tragedy tend to emerge in different ways in works of literature. The present study is focussed on recognizing and exploring the traces of commonalities of paradox and tragic elements between Oedipus Rex and Shutter Island(2003),by the renowned crime and mystery novelist, Dennis Lehane by considering the heroes in both narratives and the situations that their character attributes incite. The authors in both cases assign character attributes of a traditional tragic hero which constantly inform their actions, thereby creating an inevitable journey of personal downfall. The moments of anagnorisis are imbued with intense guilt and grief as both the protagonists realize that they themselves are the cause for their problems.

scholarly journals “Wir Arme Leut”: Undignified Death and Madness in Berg’s Wozzeck

2013 ◽  
Vol 6 (1) ◽  
Author(s):  
Meaghan Parker
Keyword(s):  
Lived Experiences ◽  
Social Stigma ◽  
Western Society ◽  
Class Structure ◽  
Western Art ◽  
Tragic Hero ◽  
Starting Point ◽  
The Social ◽  
Death Experience ◽  
History Of

Images in Western art of the tragic hero meeting his end typically conjure Romantic topics of honour, stoicism, and transcendence, yet it is questionable whether these projections of artistic death translate to the lived experiences of the dying. The titular protagonist of Alban Berg’s 1922 opera, Wozzeck, experiences death in a way that starkly contrasts Romantic ideals. Wozzeck does not die the honourable, ‘masculine’ death that might be expected from a tragic hero; rather, he capitulates to madness, misery, and poverty. Spurned by those who socially outrank him, Wozzeck is condemned to a shameful death, his fate sealed by his destitution and the sanctimonious prejudice against his ‘immoral’ life. These considerations provide a fascinating starting point for an examination of Berg’s poignant representation of Wozzeck’s death — a death that reflects early twentieth century attitudes that shaped and stigmatized the death experience. In this article I will frame my discussion of Wozzeck by considering the history of death in Western society, particularly the stigmas surrounding the gender and class of the dying individual. This history will inform my analysis of the symbolism in Berg’s music. Detailed analysis of Wozzeck sheds a critical light on the social stigma and class structure mapped onto the suffering, madness, and death of Wozzeck and his lover Marie.

Afterword

2019 ◽  
pp. 402-404
Author(s):  
Anthony Ossa-Richardson
Keyword(s):  
Tragic Hero ◽  
Church Father ◽  
History Of ◽  
Do So

This afterword argues that all definitions of ambiguity only raise further questions. It is not the historian's task to answer them, and not his task to define ambiguity; to do so would impose a false coherence on a slovenly profusion of conversations. It is his job to trace out the possibilities of such questions, not to foreclose them in advance. Ambiguity not only has a history, it is inseparable from history, makes history possible: it lies in the gulf that separates poet from critic, legislator from barrister, tragic hero from playgoer, prophet from Church Father, friend from friend, self from self, historian from exasperated reader. Ultimately, the history of ambiguity is not a history of progress or decline, not a record of pathology and delusion, and not a romance of liberation from classical strictures. It is the history of a mind that has found too many past answers and will not choose between them.

Mumbai Noir

2015 ◽  
pp. 201-216
Author(s):  
Omar Ahmed
Keyword(s):  
Film Genre ◽  
Commercial Success ◽  
Indian Cinema ◽  
Tragic Hero ◽  
Crime Films ◽  
Box Office ◽  
Slumdog Millionaire ◽  
Gangster Film ◽  
The Relationship

This chapter studies how, over the last ten years, Indian cinema has seen an explosion in urban-based crime films. A haunting and gripping study of the Mumbai underworld, Satya (1998) was the catalyst for the Mumbai noir film genre. Satya has influenced many recent films in terms of both style and tone, including most pertinently Danny Boyle's Slumdog Millionaire (2008). A cult film abroad, Satya was an unexpected commercial success at the box office. The chapter approaches Satya from a range of perspectives, including the rise of Ram Gopal Varma as a genre provocateur and producer; the production contexts, genre, and the relationship with the American gangster film; the gangster as tragic hero; and finally, the significance the film holds as heralding a new vanguard of talented writers, directors, and actors.

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