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This dissertation defends the theory that Jacobean Roman tyrant-tragedies are inherently anti-tyrannical and anti-absolutist. As such, they contest the absolutist discourses of James I, which claim that legitimate kings rule by divine right and cannot be deposed of as tyrants. What makes these tyrant-tragedies anti-absolutist is that they defend the humanist critique of tyranny, which distinguishes kings from tyrants on the basis of their ethical differences. In this respect, not only do these plays show the convergence of the Senecan critique of tyranny and humanism but also the conflict between James I's discourse of absolutism and humanism. To this end, I analyze four Roman tragedies, written between 1603 and 1611: the anonymous Tragedy of Tiberius, Shakespeare's Coriolanus, and Ben Jonson's Sejanus: His Fall and Catiline . I undertake a reading of these plays from the perspective of Neostoic Taciteanism and humanism to show how these plays contested James I's discourse of absolutism.
Tragedy: A Short Introduction reinvigorates the genre for readers who are eager to embrace it, but who often find the traditional masterpieces too distant from their own language and world. Argues that today's most popular television shows and films thrive on the type of violence, passion, madness, and catastrophe first introduced to the stage in fifth century Athens Offers selected case studies that exemplify the compelling qualities of tragedy Reviews the history of tragic performance and the qualities of the classic tragic hero, and clarifies the role of plot in defining traged Analyzes the difference between a tragedy, a catastrophe, and a mere unhappy ending Explores the past and future of the tragic form
Prophesying Tragedy investigates the political and epistemological dimensions of the conflict between heroes and prophets in homer's Iliad and Sophocles' Theban plays, Antigone, Oedipus the King, and Oedipus at Colonus. Rebecca Weld Bushnell asserts that an understanding of tragic fate, as represented in prophecy, can be achieved through an awareness of the historical relationship of tragedy to culture and politics, for the tragic hero's interpretation and defiance of prophecy both reflected and influenced the political abuse of oracles and omens.
How have ideas of the tragic influenced Western culture? How has tragedy been shaped by its social and cultural conditions? In a work that spans 2,500 years, these ambitious questions are addressed by 55 experts, each contributing their overview of a theme applied to a period in history. Extending far beyond the established aesthetic tradition, the volumes describe the forms tragedy takes to represent human conflict and suffering, and how it engages with matters of philosophy, society, politics, religion and gender. Volume 2 covers the period 1000-1400.
A Companion to Tragedy is an essential resource for anyone interested in exploring the role of tragedy in Western history and culture. Tells the story of the historical development of tragedy from classical Greece to modernity Features 28 essays by renowned scholars from multiple disciplines, including classics, English, drama, anthropology and philosophy Broad in its scope and ambition, it considers interpretations of tragedy through religion, philosophy and history Offers a fresh assessment of Ancient Greek tragedy and demonstrates how the practice of reading tragedy has changed radically in the past two decades
In the middle years of the 16th century, English drama witnessed the emergence of the 'tyrant by entrie' or the usurper, who supplanted earlier 'tyrant by the administration' as the main antihero of political drama. This usurper or, in Machiavellian terms principe nuove, was the prince without dynastic claims who creates his sovereignty by dint of his own 'virtue' and through an act of 'lawmaking' violence. Early Tudor morality plays were exclusively concerned with the legitimate monarch who becomes a tyrant; in the political drama of the first half of the 16th century, we do not encounter a single instance of usurpation among the texts that are still available to us. Devoted exclusively to the study of usurpation and tyranny in 16th-century drama and politics, this book will challenge existing disciplinary boundaries in order to engage with these critical questions.
Breaking new ground in the study of tragedy, early modern theatre, and literary London, Metropolitan Tragedy demonstrates that early modern tragedy emerged from the juncture of radical changes in London's urban fabric and the city's judicial procedures. Marissa Greenberg argues that plays by Shakespeare, Milton, Massinger, and others rework classical conventions to represent the city as a locus of suffering and loss while they reflect on actual sources of injustice in sixteenth- and seventeenth-century London: structural upheaval, imperial ambition, and political tyranny. Drawing on a rich archive of printed and manuscript sources, including numerous images of England's capital, Greenberg reveals the competing ideas about the metropolis that mediated responses to theatrical tragedy. The first study of early modern tragedy as an urban genre, Metropolitan Tragedy advances our understanding of the intersections between genre and history.