Tragedy Of Love Research Articles

The Predicaments Faced by Women in Love Tragedies: Taking Peacock's Flying Southeast and Romeo and Juliet as Examples

The Predicaments Faced by Women in Love Tragedies: Taking Peacock's Flying Southeast and Romeo and Juliet as Examples

An Interpretation of the Love Tragedy in The Age of Innocence from the Perspective of the Topographical Level

An Interpretation of the Love Tragedy in The Age of Innocence from the Perspective of the Topographical Level

«Роза и крест» Александра Блока и «Мельмот-скиталец» Чарльза Роберта Метьюрина

This article deals with Alexander Blok’s symbolist drama “The Rose and the Cross” (1913), the main idea of which is the tragedy of love and death. There is no doubt that this play reflected the writer’s own experiences, national literary associations connected with the fate of poets of the 19th century (for example, Vasily Zhukovsky, or Apollon Grigoryev), and Western European literary reminiscences: storylines, themes, and motifs of the Old Provençal courtly “Romance of Flamenca,” 12th-century Codex Campostellanus, “The Book of Sir Launcelot and Queen Guinevere,” etc. As is known, Blok was engaged in a thorough study of early medieval literary texts and reading special literature about this historical period to create his play. The major sources of “The Rose and the Cross” were once analyzed by Viktor Zhirmunsky, but the key idea of Blok’s drama (love and sorrow often go together, or love is impossible without suffering) is most clearly, vividly and consistently carried out in the book, which was never mentioned either in the poet’s works, or any preparatory materials for the play. It is the famous English Gothic novel by Charles Robert Maturin “Melmoth the Wanderer” (1820), where, as we assume, motifs similar to Blok’s dramatic work can be found in the nested story “Tale of the Indians,” which influenced, to some extent, his text: thus, only the knight Bertrand, like the beautiful Immalee (Isidora), whose love for Melmoth is happiness, but it is also inseparable from grief and sorrow, is destined to understand the mysterious words of the poet Gaetan and combine joy, suffering and death at the cost of his life.

Visions of paradise: how Brazilian cinema educated the United States about the racial issue in Brazil

The international image of Brazil was forged during the 20th century through cinema and music presented abroad. As the United States held a leading role in cinema and music production, the country had a great influence on public opinion around the world. Americans imported  Carmen Miranda, during the World War II and in the post-War period, as an actress, singer and dancer that showed Brazil as an exotic place, with carnival rhythms and a happy and tolerant people. In 1959-1960, French cinema presented another vision of Brazil, based on the hills of Rio de Janeiro, with the film Black Orpheus. In this film, for the first time there is a focus on the Black population of a favela with a view to the Guanabara Bay, Where impoverished and happy Blacks sing and dance, while experience the joys and tragedy of love. It achieved enormous success among Americans, by showing Brazil as a place where economic inequality did not generate racial conflicts. The idea of ​​Racial Paradise presented in Carmen Miranda's films was reinvigorated in Orpheus. At the beginning of the millennium, the film Cidade de Deus contributed to the desmantle of the myth of racial tolerance and the happiness of Black Brazilians, in an extremely violent film that showed part of the reality of the favelas. The three films contributed, over sixty years, to projecting the image of Brazil and educating Americans about this distant land.

The Conflicts between Ego, Id and Superego——Jake’s Love Tragedy in The Sun Also Rises from the Perspective of Psychoanalysis

The Conflicts between Ego, Id and Superego——Jake’s Love Tragedy in The Sun Also Rises from the Perspective of Psychoanalysis

Susan Abulhawa’s Appropriation of Shakespeare’s Romeo and Juliet

The purpose of this article is to examine how Palestinian American novelist Susan Abulhawa appropriates in her novel The Blue between Sky and Water (2015) some of the themes, tropes and motifs that Shakespeare employs in Romeo and Juliet (c. 1596) in order to depict how wars and conflicts turn Palestinian people’s love stories/marriages into tragedies. In particular, love at first sight, the (negative) impact of families on love stories, exile/banishment, use of herbs/traditional medicine, humour and parties that practically turn ominous and fateful are among the themes, tropes and motifs that both Shakespeare and Abulhawa employ to represent love stories/marriages that are embroiled in ongoing violent events. Overall, in its depiction of ‘love and violence’, Abulhawa’s novel appropriates Shakespeare’s greatest love tragedy and shows the conditions under which Palestinians live in Gaza.

Традиция Вальтера Скотта в творчестве И.С. Тургенева: «Сент-Ронанские воды» и «Клара Милич»

The article develops the problem of Ivan Turgenev’s perception of Walter Scott’s non-historical novel SaintRonan’s Well (1824) with the focus on the comparative study of Turgenev’s ClaraMilich (1883), whose composition reflects Walter Scott’s motifs and images. Forty years after reading Saint Ronan’s Well in the original, Turgenev turns to it within the framework of his own plan. In Clara Milich, the English novel and its author are brought into focus of deep artistic reflection. Turgenev’s Clara Milich genetically ascends to Walter Scott’s Clara Mowbray, which proves that Turgenev creatively interacted with the English novel. The dialogue between the two authors is mediated by William Shakespeare. Following the logic of the English novel, steadily leading to a dramatic denouement, Turgenev creates a brief story of a woman’s loving soul, yearning for sincere understanding and responsiveness, yet doomed to death. Taking Walter Scott’s novel as a model, Turgenev draws a parallel between Clara Minich’s life and the tragedy of Shakespeare’s Ophelia, putting the main mail character in the position of Hamlet. Twice compared to Shakespeare’s heroine, Scott’s Clara Mowbray repeats Ophelia’s suffering path in its pivotal points: collapse of happiness in love - loss of a lover -madness due to the experienced shock - death resulting from melancholy and madness. Turgenev gives no direct textual references to Ophelia, but transfers the essential elements of this image to his Clara Milich, which manifests not only in the motif of madness, but also in the general design of the tragic love story. A theatrical production in Saint Ronan is based on A Midsummer Night’s Dream - the story of Athenian lovers parallels the collision of Tyrrel and Clara. Tugenev’s epic also includes a play with similar overtones: a small performance about a tragedy of love is arranged in the house of the Georgian princess. Like Walter Scott, Turgenev uses the metaphor “all the world’s a stage” to create a narrative subtext that enhances and deepens the human drama. Following Scott, Turgenev accepts Shakespeare’s concept of the tragic state of the world and, in order to unfold the tragedy of the human, introduces a fantastic element into the story in a similar vein. For Turgenev’s Aratov, the intrusion of the unreal leads to admitting his guilt and, at the same time, reveals a hitherto unknown feeling. However, like Shakespeare and unlike Scott, Turgenev uses the otherworldly image not only as a sign of disaster, but also as the hero’s hope for an imaginary salvation. The author declares no conflicts of interests.

Love Notes and Sonnets in Early Modern Tragedy

ABSTRACT This essay engages a previously underexplored motif in a handful of early modern and Shakespearean tragedies that, other than the Inns of Court play, Tancred and Gismund (1567), are fairly well studied. It explores the conjunction of secretly exchanged verses (often sonnets, or almost) and material love tokens in Shakespeare's love tragedies Romeo and Juliet and Troilus and Cressida after first observing the trope in the more familiar Seneca-influenced tragedies, The Spanish Tragedy and Hamlet. In each instance the sonnet fails to find completion and the token is lost, misplaced, or re-gifted signalling that the love of the play cannot be perfected or sustained. This exchange, and loss of physical love token conjoined or connected to failed or incomplete text acts in concert with the failed love that is the essence of love tragedy in the period.

From Romero to Romeo—Shakespeare’s Star-Crossed Lovers Meeting Zombedy in Jonathan Levine’s Warm Bodies

Since their first screen appearances in the 1930s, zombies have enjoyed immense cinematic popularity. Defined by Romero’s 1968 Night of the Living Dead as mindless, violent, decaying and infectious, they successfully function as ultimate fiends in horror films. Yet, even those morbid undead started evolving into more appealing, individualized and even sympathetic characters, especially when the comic potential of zombies is explored. To allow a zombie to become a romantic protagonist, however, one that can love and be loved by a human, another evolutionary step had to be taken, one fostered by a literary association.
 This paper analyzes Jonathan Levine’s Warm Bodies, a 2013 film adaptation of Isaac Marion’s zombie novel inspired by William Shakespeare’s Romeo and Juliet. It examines how Shakespeare’s Romeo helps transform the already evolved cinematic zombie into a romantic protagonist, and how Shakespearean love tragedy, with its rich visual cinematic legacy, can successfully locate a zombie narrative in the romantic comedy convention. Presenting the case of Shakespeare intersecting the zombie horror tradition, this paper illustrates the synergic exchanges of literary icons and the cinematic monstrous.

Von der Liebestragödie zur Tragödie der Liebe: Jean Racines Phèdre

From Love Tragedy to the Tragedy of Love: Jean Racine’s Phèdre The article focuses on Jean Racine’s last secular tragedy Phèdre and argues that the drama is based, on the one hand, on the French concept of love tragedy, established in the 1630s and reconfigured in the 1650s as a gallant tragedy. On the other hand, Racine radicalises this dramatic concept and fulfils it by combining different models of this dramatic concept in one tragedy. Instead of a modern gallant love tragedy, like Nicolas Pradon’s Phèdre et Hippolyte, Racine stages a tragedy of love that ends with the decline of two (royal) families, produced by the revenge of the goddess of love, Venus. According to this, Phèdre is not an exemplary tragedy of French classicism but rather a radical endpoint of French tragedy in the 17th century.

A Comparative Study of the Pursuit of Love of Layla and Zhu Yingtai in Light of Arabic and Chinese Cultural Perspectives

In cultural exchanges between different countries, the comparative study of literary work has become a heated topic in modern academic research. Majnun Layla and Liang Shanbo and Zhu Yingtai are two well-known love tragedies in Arabic and Chinese Literature. Layla and Zhu Yingtai are heroines of two plays. In order to enhance a better understanding of the two plays and to deepen readers' aesthetic appreciation of these classic works, this study seeks to achieve the following objectives: to explore the difference between two heroines in defending love; to point out the similarities between two heroines in attitudes towards marriage. The method used in this research is the descriptive qualitative method. This study reveals that representation of human behavior can be seen through Layla and Zhu Yingtai, who experienced similar frustration. Layla and Zhu Yingtai’s different ways of defending their love but similar attitudes towards their parents' arrangement of their marriages were affected by their social backgrounds. The matter is well-proved if considered in light of Arabic and Chinese cultural perspectives. A further study is suggested in the other comparison fields, such as the plot structure, theme, the male characters and plot setting.

Sappho, Hegel and Michael Field: Paradox and desire in lyric III

This article offers a close reading of Katharine Bradley and Edith Cooper’s lyric III in Long Ago, a Sapphic volume of verse published in 1889 under the collaborative nom de plume of Michael Field. This collection articulates a dramatic inquiry into the tragedy of unrequited love in a long cycle of lyrics whose third piece most effectively encapsulates the kernel of what the Fields reconstruct as Sappho’s ambivalent eroticism. The outcome of this reconstruction, as analysed in light of lyric III, is a consistent Hegelian view of desire that subsumes a complex system of tropes, myths, paradoxes and imaginative strategies under an overarching ideology of desire as a radical experience of appropriation, violence and self-destruction.

A Comparison between A Rose for Emily and Letter from an Unknown Woman—Based on Freud’s Personality Structure Theory

The two works Letter from an Unknown Woman and A Rose for Emily have made excellent description of woman’s love and contained profound meanings. The former is a passionate confession, and the latter is an implicit critique. This essay compares and analyzes the two heroines’ love tragedies from the perspective of Freud’s Personality Structure Theory and attempts to explore how the id, ego and superego influence the heroines’ psychology and behavior. The Psychoanalysis approach offers insight into the cause of their tragedies, it’s the imbalance of their personality structure leads to their doomed tragic fates.

An Analysis of the Boy in “Araby” and J. Alfred Prufrock in The Love Song of J. Alfred Prufrock from the Perspective of Inferiority Complex

James Joyce and T. S. Eliot are representative of the modern literature. Through “Araby” and The Love Song of J. Alfred Prufrock, they all showed the characters who lived in the modern environment and they shared some similarities in personality. Characters are the core in the work. So, the thesis will focus on the analysis of the deep sense of the change of protagonists. The boy in “Araby” and Prufrock are both influenced by the Inferiority Complex. Their tragedies are caused by the feeling of inferior. The Inferiority Complex, which plays a key role in the personality development, is put forward by Alfred Adler, an Austrian medical doctor. And the thesis will explore the characters from the perspective of the Inferiority Complex mainly through three parts, symptoms, caustic factors and the results of the protagonists. Their love tragedies were actually caused by the Inferiority Complex.

Three Men Contributing to Emily’s Tragedy of Love: Analysis of “A Rose for Emily” from the Perspective of Masculinities

世界科学出版社（World Science Publishing-WSP）立足国际，积极配合中国“走出去”出版战略，大力推进版权输出与引进，并不断拓展国际间的交流与合作，取得显著成绩。WSP国际图书出版项目力倡中国科研人员出版英文图书，出版社具有丰富的国际传播资源与雄厚的编辑、翻译、出版力量，拥有一批著名的中外翻译专家、出版专家，及一支精通国际出版的编辑、翻译和国际营销队伍。探索“科学进步”与“社会进步”是人类永恒主题，WSP推崇以科学信仰引领学术方向，遵循各国法律和地方法规，能够协助您优质、快捷、低

An Analysis of the Spiritual Characteristics of the Females in the Novels of Writer Zhang Ailing

Most of Eileen Chang's novels describe her living environment, attitude towards life, marriage and hardship from the perspective of women. Their descriptions are thorough and meticulous, creating vivid female artistic images, which play a very important role in the history of modern Chinese literature. Writers' artistic shaping of women's images in the 1930s and 1940s in old China can be said to be a great contribution to the reappearance of Chinese women's spiritual characteristics. From all kinds of female artistic images created by writers' novels, such as money supremacy, silence and helplessness, and tragedy of marriage and love, people can clearly see through their specific and distinct female spiritual characteristics. These female images not only have far-reaching influence on Chinese literature, but also have great influence in the world humanities field. In order to thoroughly grasp the characters' images, we analyze the spiritual characteristics of all kinds of women in the works by comparative methods, and reflect on the writer's growth process, thus drawing a conclusion that the creation of female images in the works is closely related to the writer's family background and social environment at that time, which is essentially an artistic reflection of the social reality in that period.

MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA

The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.

SÖZLÜ KÜLTÜRDEN YAZILI KÜLTÜRE KİTAPTAN EKRANA: LEYLÂ VE MECNUN

The narrative is the common name of the stories that humanity transfers between the dimensions of life, imagination and fiction, and geographies . The core of the story is often connected to an event that has happened or is likely to happen. In this context, some narratives gain a universal character with the power they derive from the origin of their birth. In this study, the past and present of the legend of Leylâ and Mecnun; the mathnawi, folk story, novel, theater, culture data written in the context and the status of digital media over radio, television, cinema and internet are examined. Leyla and Mecnun, an Arab-origin legend, have turned into a unique cultural heritage in the Turkish cultural climate. The origins of Leylâ and Mecnun, the rise in Divan literature and its reflections on modern literature, as well as its transfer to curtain and screen are among the issues that need to be resolved. Leylâ and Mecnun were not only limited to studies in Divan literature; It was primarily the subject of novels, poetry books and caricatures. This love tragedy has been cited as an important accumulation in popular literature, theater, cinema and the Internet. Therefore, in this study, analytical examinations were made about the story of Leylâ and Mecnun based on verbal, written, audio, visual and digital contents.

Subversive Characters and Unfortunate Victims: A Feminist Study of Medea and Bertha Mason in Love & Revenge Tragedies

Love and revenge are eternal motifs in literature, on which numerous renowned works are written in almost all times. In this paper, two characters, namely Medea in Euripides’ Medea and Bertha Mason in Charlotte Bronte’s Jane Eyre, are chosen to explore the female images in love and revenge stories. Seen from the perspective of feminism, their images are undeniably special and even subversive in comparison with common female characters. A prominent revelation of it lies in their independence from their male spouses named Jason and Rochester respectively. With the superiority in power, Medea and Mason are able to extricate themselves largely from the reliance of their husbands, thus gaining the courage to pursue their happiness in love as well as the determination to defend their dignity by taking revenge. However, limitations do exist due to the male dominance in the patriarchal society. For one thing, the depersonalization of women under male’s visual angle has made Medea and Mason turned into men’s tools, which has predestined the tragic ending of their love; for another, the dominant status of male discourse has victimized them. In the society where men firmly grasp the power of discourse, their voices are “muted” and their acts of revenge “magnified” to the extreme. Consequently, in reflection of their love and revenge tragedies, Medea and Bertha Mason are both subversive characters and unfortunate victims in a male dominating world.

Directing O'Neill: Mourning Becomes Electra, Long Day's Journey Into Night, Desire Under the Elms, Days Without End

Directing O'Neill: <i>Mourning Becomes Electra, Long Day's Journey Into Night, Desire Under the Elms, Days Without End</i>