Tragic Character Research Articles

Exploring the use of Language in Thomas Hardy’s Tess of the d’Urbervilles: A Focus on Social Class and Patriarchal Mindset of Victorian England

Tess of the d’Urbervilles written by Thomas Hardy explores the complicated social structure and patriarchal injustice existing during the Victorian era. In this novel, Hardy uses refined and colloquial language for characters belonging to different classes in order to portray social differences and highlight power and position.Tess, being a girl from lower class was a subject of exploitation and received physical and mental abuse from Alec, Angel and overall, the society. Alec often abused her verbally using words reflectinghis ownership over Tess while Angel and the society blamed her for her rape. This paper aims to examine the role of language in Tess of the d’Urbervilles that represents the deep-rooted domination based on gender and class. Through Hardy’s narrative style and variation in linguistics pattern themes of male dominance and abuse, possession, control, victim blaming, identity, social class. and the patriarchal mindset of the society has been explored. The findings are basedon the primary and secondary data collected from the text Tess of the d’Urbervilles and other journals, articles, research paper of various scholars respectively. Besides, it also focuses on the sympathetic narrative tone of the writer where he expressed his compassion and presented Tess as a tragic character to the readers, who had gone through all sorts of sufferings due to her gender and class. The paper also presents a connection between Tess and the women of all ages who have similar experience and how language has always been an instrument of oppression and control over women by men. Hardy’s use of language is a reflection of the social and gender oppression during the Victorian era and how words can be a way of humiliating women.

Comparative Analysis of the Tragic Characters of Jay Gatsby and Jia Baoyu

Comparative Analysis of the Tragic Characters of Jay Gatsby and Jia Baoyu

Shapes of hatred and violence in Shakespeare

I use five Shakespearean plays to discuss how the meaning of the shapes of hatred and violence depend on individual character traits. In this sense, hatred and violence can either make comic characters meet some sort of reconciliation or self-destruction in the case of tragic characters. In The Comedy of Errors, the Dromio brothers, who are subject to violence from their master’s part, are the ones who can find redemption nonetheless. In The Merchant of Venice, the structural hatred between Shylock and Antonio seems to configure a form of meaning to them. In King Henry V, the enablement of violence during war time seems to suggest that the capacity for violence is inherent to every human being. This suggestion is carried over through Titus Andronicus, in which Shakespeare explores the traumatic effects of violence within a mythical realm. Finally, in Macbeth, we see how the protagonist, who is accustomed to the violence of war, can have his own nature changed when he is forced to unwillingly commit a murder outside the context of war.

Mythos and catharsis in Aristotle’s Poetics

Abstract The paper argues that catharsis in Aristotle’s Poetics is a two-pronged process, which applies both to the construction of the mythos by the poet and its reception by the audience. Catharsis may plausibly be taken as the poet’s distillation of events that constitute a mythos so as to clear away anything that might undermine its coherence or disturb its unity. The sequencing of fearful and pitiable events in the plot according to probability or necessity allows the audience to evaluate or reevaluate properly the relative importance of factors that determine or influence the behavior of the tragic characters and the fulfilment of their fate. In several cases at least, the plot also leads the audience to realize that other features such as the heroes’ social and intellectual advantages, which they and/or the characters may have considered important in principle, because of their cultural or social background, and/or in the early stages of the plot, were not involved in the downfall (or salvation) of the heroes. This gradual and plot-induced shift in the audience’s appreciation of the relative importance of various factors constitutes the catharsis experienced by the audience. They gain a clear(er) understanding of the reason(s) why the heroes suffer and how they bring about (or escape) disaster. Sophocles’ OT and Euripides’ IT, which Aristotle praises highly in the Poetics, are discussed as examples that illustrate how their plots lead the audience to experience catharsis.

The mystical simplicity of Anna Dolgareva’s poetry

The article conducts an in-depth analysis of Anna Dolgareva’s poetic output: a contemporary poet, she has become somewhat of a chronicler of the special military operation. The scholar argues that Dolgareva’s poetics satisfies the needs of the current era: now that the postmodernist and avant-garde potential has been exhausted, the tragic character of history calls not only for a clear stance and unwearied word but also a radical change of tradition. To achieve such an effect with her poetics, Dolgareva opts for straightforwardness of expression and puts the main emphasis on the mission statement of the tragic hero, who is not romanticized but shows awareness of their responsibility. The critic particularly examines Dolgareva’s latest book Red Berry. Black Soil [Krasnaya yagoda. Chyornaya zemlya] (2023). It appears to be a manifesto of the poet’s idea of the protagonist’s direction in life and depicts the lyrical heroine through her various self-identifications – from the long-awaited offspring of a previously childless couple to a jester, the Fool from a tarot deck. In her reconstruction of the heroine’s personality, the critic examines the main motifs of Dolgareva’s lyrical poetry in the philosophical context of Russian poetry in the 2010s–2020s.

Analyzing Sartrean Inter-subjectivity and Concept of the Look in Macbeth

Shakespeare and Sartre have a specific bond in that the Bard has portrayed the kind of tragic characters that can be the embodiment or conceptualization of existential notions. The present research intends to investigate the relations of two consciousness or Sartrean inter-subjectivity as depicted in the tragedy of Macbeth and between its tragic heroes and others. Others have a great impact on Macbeth's consciousness and his process of self-formation. When he chooses to commit murder, he attempts to conceal his crimes from others to shun from the heavy sense of shame and self-disgust (guilt) created through what Sartre calls the Concept of the Look and its alienating effect upon the individual. Macbeth's social self (being-for-others) which is portrayed in his outward relations with others is in stark contrast with his subjective self (being-for-itself) which is displayed in his myriad reflections in his soliloquies and asides. The Macbeths assume a mask to conceal their real self from others' consciousness. This article first explains the concepts of inter-subjectivity and the Look in Sartre's philosophy, and then it discusses the same notions in the context of Shakespeare's Macbeth.

Joanna Baillie's Theory of Tragedy

Abstract Joanna Baillie (1762–1851) came to fame in 1798 with the first volume of her Plays on the Passions, which included her theoretical account of drama, including tragedy. This article reconstructs Baillie's theory of tragedy and shows how the theory informs the design of the Plays on the Passions. For Baillie, all human beings have powerful and dangerous passions that we need to learn to regulate. Tragedy can help with this and can serve an educative purpose by presenting us with narratives in which the protagonists repeatedly fail to check the growth of a particular passion, such as jealousy or hatred. We witness this passion gain more and more hold over the character's mind until they are destroyed. This offers a warning and motivates us to watch out for the growth of our own passions and keep them in check. Baillie's theory of tragedy is original and combines a moral orientation, a voluntarist belief in free will, and optimism about the human condition. For her, the sufferings undergone by tragic characters could have been avoided had the characters made better choices. Thus the message of tragedy is not that suffering is inescapable but that suffering can be minimized if we cultivate self-knowledge and emotional self-control.

Tragedy in Shakespeare’s Plays

Tragedy is an eminent genre in the functions of William Shakespeare, fringing p plays like “Hamlet," "Macbeth," and "Romeo and Juliet." Shakespeare's tragedies are prominent for their inspecting human nature, characters’ convolution and the rendering of tragic happenings. This retaliation will provide research-backed information, including citations and quotes, on the topic of tragedy in Shakespeare's plays. Tragedy as a Reflection of Human Nature: According to critic A.C. Bradley, Shakespeare's tragedies dig extensively into the human psyche and unmask fundamental veracity about human nature. In his book "Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth," Bradley states, "Shakespearean tragedy, as a rule, displays man in his general environment and character... the tragic blunder, however, accords to the nature of the particular, not to his fate" (Bradley, 1904). This reflects how Shakespeare's tragedies investigate the vulnerabilities and flaws of individuals, advancing to their downfall. Complexity of Characters: Shakespeare's tragic characters are complex and often possess both flawed and admirable elements. In his essay "The Tragic Hero," critic F.L. Lucas throws light “Shakespearean tragic heroes are... multidimensional, not simple. They are neither wholly positive nor wholly heinous, but persons of eminent who are destroyed by a moral flaw or an error" (Lucas, 1959). This demonstrates how Shakespeare's characters are not condensed ideals but rather convoluted beings with internal conflicts, making their tragic course all the more fascinating. Portrayal of Tragic Circumstances: Shakespeare's tragedies require circumstances that leads the way to deep agonize and loss. In her assessment of Shakespearean tragedies, critic Marjorie Garber points out, "Shakespearean tragedy moral and a social world in which they are often trapped and caught and even pressed by larger political and social forces" (Garber, 2004). This emphasizes how Shakespeare's plays often include larger societal or political issues, adding to the tragic results faced by the characters. In conclusion, Shakespeare's tragedies are well known for their deepest exploration of human nature, complex characters, and the depiction of tragic circumstances. Through diligent character development and the interplay of destiny and free will, Shakespeare designed plays that continue to resonate with audiences across centuries. Reference: • Bradley, A. C. (1904). Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. London: Macmillan and Co., Limited. • Lucas, F. L. (1959). The Tragic Hero. In R. S. Crane (Ed.), Critics and Criticism: Ancient and Modern (pp. 271-287). Chicago: The University of Chicago Press. • Garber, M. (2004). Shakespeare After All. New York: Anchor Books. • Knight, G. W. (1961). Shakespeare and the Idea of Tragedy. London: Chatto & Windus.

Greek Tragedies and Pottery

This paper explores how Greek pottery from the fourth century reflects a historic perception of Greek tragedies that differs significantly from that of modern times. By analyzing Euripides’ Medea and Hippolytus, the study contends that the modern interpretation of these two tragedies is centered on the personality of tragic characters and the emotionality of the tragic plot. It is also evident that, by examining modern productions and adaptations of Euripides’ plays and relevant literary studies, the modern audience is particularly perceptive of the themes of sex, love, and marriage, which are often incorporated into discourses on contemporary issues. An investigation into the depiction of tragedies in classical pottery, however, highlights the significance of divinity in the historic understanding of the plays, reflecting the Athenian audience’s prioritized interest in religion. This paper thus argues that the thematic perception of Greek tragedies is ever-changing throughout ancient and modern times and is greatly influenced by the current of contemporary cultures. The paper also proposes that a theatrical emphasis on religion is conducive to forming a new modern perspective on Greek plays as well as social issues.

The Origin of Power: A Study on Carl Schmitt

Abstract In a 1954 work titled Dialogue on Power and Access to the Powerful, Carl Schmitt reflects on power and its ‘essence’. On the one hand, a strategy is in place to demonstrate Schmitt’s own non-involvement with the concrete exertion of power in the Third Reich, a non-involvement about which it is legitimate to have more than one doubt. What interests us in this article, however, is another side of the Dialogue: Schmitt’s reflection on power as such. Extremely careful about the mechanisms of power that men exert among themselves, Schmitt’s analysis has a background – to be deciphered – that refers to a non-immanent original dimension of power. To trace this dimension, whose references are scattered throughout the text, (a) we shall proceed to follow the course of the Dialogue on Power, pinpointing the tragic character established here with regard to human power, and (b) we will try to establish what for Schmitt is the origin, in its truth, of power. Lastly, (c) we will attempt to indicate a possible line of research in view of a horizon unacknowledged by Schmitt, that of a power that can have the possibility and the potency to destitute itself as domination, that is, as a series of relations of subordination that repeat and follow those between master (dominus) and servant.

The Mythologeme “Home” in the works of Russian Emigration writers of the Second Wave (using the example of R. Berezov’s works).

The article is devoted to the representation of the image of home, one of the dominants of Russian culture, in the works of émigré writers. In the literature of the Russian emigration, it acquires a special tragic character and is interpreted differently by representatives of different waves. However, one can single out typological features that unite émigré writers: autobiographical narrative, nostalgic motifs in the depiction of Russia, apocalyptic perception of the loss of connection with home. The analysis of the work of Rodion Berezov, a representative of the second wave, reveals the main ways of implementing the mythologeme in the prose of post-war emigration and allows us to trace the transformation of the perception of the loss of home by emigrants of different waves. The novelty of the study is due to the lack of literature studies of the second wave of emigration in the context of this issue.

A DOUBLE TRAGIC ALLUSION IN AMMIANUS MARCELLINUS 14.1.3

AbstractThis article identifies a double allusion to the tragic characters of Phaedra and Eriphyle in Amm. Marc. 14.1.3 and considers its possible meanings. In combination, these allusions evoke the double nature of the story of Eriphyle, therefore functioning as a reference to the double nature of Caesar Gallus’ depiction in Ammianus. The double allusion consequently forms part of Ammianus’ tragic style throughout Book 14. Having identified the presence of this double allusion, the article illuminates its possible meaning by connecting Ammianus’ passage to the Virgilian rewriting of the description of Eriphyle in Homer.

헨리 제임스의 소설에 등장하는 하인계급의 비극과 매슈 아널드적 교양의 실패

The purpose of this study is to analyze the tragedies of two main characters in Henry James’s “Brooksmith” and The Turn of the Screw based on the Arnoldian concept of ‘culture.’ The main characters of both works, butler and governess, are tragic characters who serve their masters but fail to join the master’s world or its class despite their trial and passion. “Brooksmith” is a kind of artist who hosts retired diplomats and allows guests to have a high level of intellectual conversation with each other, but it is just another aspect of the servants who revolve around the nobility and never get into the world of British society. The governess of The Turn of the Screw manages to control the master’s house and protects the two young children of the Bly from the ghosts of Peter Quint and Miss Jessel. She seems to have done her job well at first glance, but her destiny seems to be similar to that of Brooksmith, for she disappears from the world of the master in spite of her successful job. This study shows the irony of the British order based on the solid cooperative relationship between the upper class, the master and the lower class, the servant. The fate of Brooksmith depends wholly on Mr. Offord’s life and death, and the role of the governess on the master’s absence. Even though it seems that the flamboyant British society was not possible without these sacrifices and substitutes, their masters gave them the gaze of ‘the uncanny.’

Virtuous judges, politicisation, and decision-making in the judicialized legal landscape

ABSTRACT In recent years, a growing body of work has emerged in legal theory that focuses on the relationship between law and virtue. Part of this virtue jurisprudence literature deals with the role of virtue in adjudication and judicial decision-making, with leading authors claiming that virtue plays a central explanatory and normative role. This article engages with this literature on virtue in adjudication, and connects it with a contemporary phenomenon that poses a risk for courts and judges, namely the politicisation of judiciaries. In particular, the question emerges whether virtue jurisprudence is able to provide practical guidance to judges and courts in order to help them avert such politicisation. I sketch the outlines of two contrasting answers to this question, by exploring two alternative approaches to understanding the politicisation of judiciaries from within a broadly virtue-ethical framework. On the first approach, it appears that judges may help prevent politicisation, by becoming more attentive to the tragic character of particular cases and by deciding as civic friends. However, on the other approach, which builds on Alasdair MacIntyre’s critique of modern moral discourse, politicisation appears to be intractable, and the practical recommendations following from the first perspective may even aggravate it.

Virtue and the Paradox of Tragedy

What accounts for our pleasure in tragic art? In a widely-cited essay, Susan Feagin argues that this pleasure has moral roots; it arises when we discover ourselves to be the sort of people who respond sympathetically to another’s suffering. Although critical of Feagin’s particular solution to the tragedy paradox, I too believe that our pleasure in tragedy often has moral roots. I trace those roots differently, however, by placing the concept of virtue front and center. I argue that a noble pleasure arises when we perceive virtue in tragic characters and when we practice it ourselves as audience members. My account draws on insights from the history of philosophy, most notably Aquinas’s conception of the virtues of charity and mercy in the Summa.

Mercy Killing or Murder: A Moral Dilemma Regarding the Death of Lennie in Of Mice and Men

This study aims to analyze the death of Lennie Small, a tragic character in Of Mice and Men, through the lens of deontology and consequentialism. People have always paid the most attention to the ending of Of Mice and Men: Should George have killed Lennie or not? This study focuses on the factors that led to George’s decision to end Lennie’s life, using ethical perspectives to justify George’s decision to shoot Lennie to death. With the shooting of Lennie as an example, we intend to demonstrate that, although the action and the outcome may be the same from the deontological perspective and the consequential perspective, the motivation for the shooting is different because of different moral philosophies. Consequentialism provides a clear benchmark to abide by; in contrast, although deontology claims that people are obliged to follow the supreme principle of morality, without clear guidance, people may confront contradictory obligations and, hence, face a dilemma.

Aristoteles’in Poetika’sı Işığında Sofokles’in Filoktetes Tragedyası

Aristoteles etik, estetik ve politika üzerine olan görüşlerinin yanında “Poetika” isimli eserinde tragedya karakterlerinin özgür iradeleri, ahlaki değerleri ve eylemsel tercihlerini inceleyerek bir tragedya biçimi tartışmaktadır. Antik Yunan tragedyalarının günümüz tiyatrosunun yapı taşını oluşturan eylem birliği Aristoteles’in fikirlerinde tezahür etmektedir. Aristoteles’ten neredeyse bir yüzyıl önce yaşamış, milattan önce beşinci yüzyılın en etkili tragedya yazarı olan Sofokles, Poetika’da tartışılan tragedya biçiminin karşılığını veren eserler üretmiştir. Öyle ki çağın tiyatro şenliklerinde birçok kez birincilik alması buna kanıt olarak gösterilebilir. Sofokles’in bilinen son eseri olan ve yönetmenliğini yaparak sahneye koyduğu “Filoktetes” tragedyası çeşitli otoritelerce kendisinin en iyi dokunmuş eseri olarak nitelendirilmektedir. Bu çalışmada, Aristoteles’in poetikasındaki temel kavramlar incelenecek ve Sofokles’in Filoktetes eserindeki karşılıklarının izi sürülecektir. Dolayısıyla Filoktetes’in yazgısı, iradesi ve ahlakı arasındaki diyalektik irdelenecek olup düşünsel açıdan okuyucuya katkı sunmak amaçlanmaktadır.

The Price

The Price

Peter Lawler, Public Thinker

The late Peter Lawler devoted a great deal of time and effort to public writing—work drawing on his deep knowledge and professional academic expertise but intended to shed light on events of the day for a wide, nonacademic readership. The purpose of that work was highly unusual: Lawler sought not so much to bring the tools of elite academic criticism to bear on the public situation as to bring the common sense of American culture (albeit refined and elevated through a learned Christian sensibility) to bear on the thought and behavior of American elites. If Lawler could be called a public intellectual, it is because he was an intellectual thinking on behalf of the public, and in ways that take seriously both the enormous benefits and the fundamentally tragic character of modern life. There is great value in such public writing, and Lawler offered an exceptional example of the kinds of virtues it involves.

ETEOCLES’ AESCHYLEAN DREAM IN STATIUS’THEBAIDTHROUGH THE READER'S EYES

AbstractThis article explores the intertextual connection between Eteocles’ dream in Statius’ThebaidBook 2 and the brief reference to his ambiguous dream at Aesch.Sept.710−11. In Aeschylus’ play, Eteocles understands the true meaning of the dream belatedly, as he is about to enter into a duel with his brother Polynices. The article argues that the ambiguous character of the Aeschylean dream forms the basis of the dream in Statius, and that the poet develops the scene further through elements of epic dream sequences that align his narrative with the epic tradition. However, Statius emphasizes even more the ambiguity of Eteocles’ dream to highlight the tragic nature of his character. Following ancient dream theorists, the discussion shows next that the obscurity of the dream in theThebaidcan be understood as the product of the fusion of different dream classes, which are evoked in the description of the dream in Statius. The proposed interpretation suggests that, on the basis of their personal experience of dreams and their familiarity with popular dream theories, Statius’ readers would have been able to perceive the irony between Laius’ message and Jupiter's true intentions, all of which enhance Eteocles’ tragic character.