澳洲格里菲斯论文代写:悲剧的经典形式

Keywords:澳洲格里菲斯论文代写

几乎所有的戏剧理论认为随着现代性的到来，悲剧的经典形式变得无关紧要，而一个过去的时代。戏剧作品的萨缪尔·巴克利·贝克特和Haley Granville Barker，但是，试图影响一个重生的前现代悲剧在现代条件下的世界。贝克特的结局和Granville Barker的废物利用悲剧的复兴传统，由莎士比亚的哈姆雷特的例证，以孤独者的悲剧命运。经典，或“高”的悲剧是在一个特定的意识形态和社会对神权至上的强调和维护社会秩序方面，因此其近代衰落并存的凡人和神之间的权力关系的破裂，并与国家和无产阶级。 萨缪尔·巴克利·贝克特的结局，就像斯托帕德的Rosencrantz和Guildenstern死了，用哈姆雷特的探索和操作高玩悲剧的公约。完成，它的完成，做完了，就必须做完了”Clov说在贝克特的最后阶段的开始。Hamm动了一下，说：“有苦难–他打哈欠–高于我的吗？“（贝克特John Spurling评论说，文字带来了哈姆雷特，Oedipus rex，王李尔和费德拉悲剧传统。Hamm属于这一长排的悲剧英雄，为明确由他的名字衍生于哈姆雷特。“有苦难–高于我的吗？Hamm继续说道：“毫无疑问。从前.但现在呢？“哈姆似乎不仅质疑他作为一个悲剧人物的角色，但悲剧的角色在现代世界。Joseph Wood Krutch曾说“悲剧，那只能说具有任何独特的意义，不再是写在戏剧或其他任何形式的（克鲁奇81），和George Steiner的痕迹，悲剧的灭亡的神话参考塑造哈姆雷特或俄狄浦斯宿命的宇宙和象征性的损失。最后的要求相对于传统的复兴莎士比亚悲剧，揭示，虽然通用的系统，预先注定的悲剧英雄的死亡不再是到位的，行动是一样的。

澳洲格里菲斯论文代写:悲剧的经典形式

Nearly all theories of drama assume that with the advent of modernity, classical form of tragedy are rendered irrelevant, a visage of a past age. The dramatic works of Samuel Beckett and Haley Granville-Barker, however, attempt to effect a rebirth of the pre-modern tragedy within the world of the modern condition. Beckett’s Endgame and Granville-Barker’s Waste employ the Renaissance tradition of tragedy, exemplified by Shakespeare’s Hamlet, which focus on the tragic destiny of the solitary man. Classical, or ‘high’ tragedy evolved in a specific ideological and social context with an emphasis on divine supremacy and maintaining the social order, and therefore its decline in the modern age is coexistent with the breakdown of power relations between mortals and the divine, and between the state and the proletariat.
Samuel Beckett’s Endgame, like Stoppard’s Rosencrantz and Guildenstern are Dead, uses the play of Hamlet to explore and manipulate the conventions of high tragedy. ‘Finished, it’s finished, nearly finished, it must be nearly finished’ says Clov at the beginning of Beckett’s Endgame. Hamm stirs, and says ‘Can there be misery – he yawns – loftier than mine?’ (Beckett As John Spurling has commented, the words bring up the tragic traditions of Hamlet, Oedipus rex, King Lear and Phedre. Hamm belongs to this long line of tragic heroes, as made clear by the derivation of his name from that of Hamlet. ‘Can there be misery – loftier than mine?’ Hamm continues: ‘No doubt. Formerly. But now?’ Hamm appears to be questioning not only his own role as a tragic figure, but the role of tragedy in the modern world. Joseph Wood Krutch has said that ‘tragedies, in that only sense of the word which has any distinctive meaning, are no longer written in either the dramatic or any other form’ (Krutch 81), and George Steiner traces the demise of tragedy to the loss of the mythological and symbolic reference which shaped the fatalistic universes of Hamlet or Oedipus. Endgame demands comparison with the traditional Renaissance Shakespearean tragedy, revealing that, although the universal system which pre-ordains the tragic hero’s demise is no longer in place, the action remains the same.

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