Abstract
Two Theories
Highlights
Under the weight of these questions, the analysis of a specific literary form that was the object of the Poetics was replaced by a philosophy of “the tragic” as a self-standing entity: an “essentialization” or, better, a “derealization of tragedy,” as William Marx has called it,[3] which was further exacerbated by the frequent
“Four hours of action, that become this. . . . What do we gain, by turning time into space? First of all, this: when we watch a play, we are always in the present: what is on stage, is; and it disappears
Once the Ghost shows up at Elsinore things change forever, whether he is on scene or not, because he is never not there in the network
Summary
Unamuno, Hei degger, Camus ...Foucault, Derrida, Lacoue-Labarthe, Žižek, Butler, Menke –philosophers have dominated the theory of tragedy At times, they have done so by addressing strictly aesthetic issues, like the structure of tragic plot in the Poetics, the one-sidedness of dramatic characters in Hegel’s Aesthetics, or the function of the chorus in The Birth of Tragedy; more often, they have taken tragedy to be the ideal terrain for general issues like the threat of emotions to political stability (The Republic), the clash between liberty and the course of the world (Schelling’s Philosophical Letters on Dogmatism and Criticism), the struggle between the imperatives of the State and the bonds of the family (Hegel’s Phenomenology), the internal contradictions of the will (Schopenhauer’s World as Will and Representation), the distinction between ancient pain and modern sorrow (Kierkegaard’s Either/ Or), all the way to Nietzsche’s critique of the homo theoreticus, Lukács’s aptly titled “Metaphysics of Tragedy,” and Heidegger’s “attempt .
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