Abstract
The small world of Nilo Cruz’s Anna in the Tropics brings to light a collision between historical and cultural forces personified in the play. It is this drama’s singular transitional moment, the end of the cycle for a way of life represented by Cruz’s characters that reverberates both tension and meaning for modern audiences. The resolution of a conflict between two of the play's central characters effects questions that hover over the play's final tragic tableaux. Their clash of seemingly justifiable positions frames Anna in the Tropics as a dialectical drama that is redolent in many ways of G.W.F.’s Hegel’s view of tragedy, as evidenced by his analysis of Sophocles’ Antigone . The dialectical form of Anna in the Tropics discloses what it means to enter a world of becoming for its immigrant characters of the Depression Era and for its modern audiences as well.
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
