Tragic Flaw Research Articles

WITHDRAWAL – Administrative Duplicate Publication: Industrial Relations and the Tragic Flaw

WITHDRAWAL – Administrative Duplicate Publication: Industrial Relations and the Tragic Flaw

Shakespeare Tragedy, Comedy and Historical Play

This particular research paper sheds light on common recognizable characteristics of Shakespeare tragedy, comedy and historical play. Shakespeare, the dramatist of all time, brought tragedy and comedy developed by classic Greek dramatists: Aeschylus, Sophocles, Euripides and Aristophanes to a new level in the Elizabeth period. Within his theatre life which expands for 22 years, he produced ten tragedies, seventeen comedies and ten historic plays, which are staged with diverse modification all over the world, being translated to almost all the languages that are spoken in very nook and corner in the world. Shakespeare whom quoted next to the Bible is undoubtedly a social reality; his tragedy, comedy and historical plays have become the most timeless and placeless plays which touch the hearts of the audiences irrespective of social political and geographical differences. His tragedy showcases the downfall of the hero/heroine of high socio standing due to a tragic flaw, which finally causes the death of the protagonist either by being killed or committing suicide. His comedy is much more different from one another, although almost all of then end in poetic justice. His historical plays are based on the English history from 12th century to 16th century (from 1399 to 1485) and actual kings who ruled Great Britain in the particular period. However, Shakespeare added more dramatic effects into these historical plays constantly reminding the fact that he is not a historian yet a dramatist.

Women’s empowerment: Staging power resistance in Oshin (2013)

Fictional movies captivated the audience in many ways through their stories and audio-visual. The stories of fictional movies often reflect what happens to our society, and we savor the purification of the hero’s tragic flaw. One of which is power relations between males and females. This study explores women’s empowerment in Oshin the movie (2013). The narrative is about a seven-year-old girl called Oshin, who is made to work as a maid by her father due to the family’s poverty. At first, she is against her father’s idea of being separated from her family. She struggles to become a maid until she is accused of stealing and runs away. By watching her mother’s efforts as the household pillar, she finally realizes the importance of being an independent female. The movie shows power relations issues regarding filial duty and social stratification. Yet, with the help of Foucault’s theory of The Subject and Power (1982), power resistance is a more eloquent outcome to discuss. Thus, this study proposes the stages of power resistance and how the protagonist declares her resilience through traditional gender roles. Moreover, this study uses an interpretative method by scrutinizing each scene that shows power resistance; the discussion reveals that Oshin participates in staging power resistance for women’s economic empowerment, which subsequently contributes to her family’s economic development. This study concludes that financial independence and women’s empowerment are inextricably linked.

Отелло – «трагический изъян» героя

The aim of the research is to further develop the previously proposed interpretations of “Othello” as the tragedy of a person who attempts to take the kind of place in the universe that is not rightfully theirs and they cannot handle because of their finite created nature. The research is novel in that it presents “Othello” as a tragedy of the Fall, a clash between human will and God’s providential Design; a human being attempts to place themself above the Design, and that results in destroying not the Design, which is impossible, but the human being themself. The article proposes wrath as Othello’s tragic flaw; wrath is a cardinal sin and at the same time the state that can be common to both God and human beings, the state that leads a person to judge their neighbor and to act as jury, judge, and executioner. Our findings show that “Othello” is part of what we called Shakespeare’s overarching plot and is closely tied with the problematics of other tragedies, particularly “Hamlet” and “Romeo and Juliet”. Consequently, “Othello” emerges as part of Shakespeare’s “overarching plot” that tells stories of the Bard’s characters seeking self-deification, that is, seeking to impose their will on the universe and ultimately to overcome their created human nature.

Shakespeare’s Othello: the Open Nature of the Hero and its Devastative Upshot

Emanated from many characters, jealousyis the essence of Shakespeare’s Othello for causing thepersonal conflict within the play. It is used to be themotive for destructive actions that lead to the sorrowfulends of many characters including the tragic hero,Othello, who proves that jealousy is one of the mostsubversive emotions. The aim of this research is toconcentrate on Othello’s open nature as a tragic flaw thatcreates his vulnerability to be jealous of the allegeddisloyalty of Desdemona, his faithful wife, and then to killher.

The Recalcitrance of the Tragic Hero in Shakespeare’s Macbeth

Stated by Aristotle in his Poetics, tragic flaw is one of the main characteristics of the tragic hero, a weak point within his personality that leads him to commit fatal mistake during the events and that is what causes his decline. In Shakespeare’s Macbeth, the tragic hero, Macbeth, is motivated to embrace evil and to be criminal for he is not immune in the opposite of his diseased will to extort the throne. Under the influence of this flaw, Macbeth degenerates from a respected man of great honour to an isolated murderer and then to the expected conclusion, death. The aim of this research is to examine the recalcitrance, one’s illegitimate ambition, as Macbeth’s tragic flaw in depth throwing much light on its significant role in bringing about the idea of treason, killing king Duncan, in Macbeth’s mind and, then, committing the crime.

Hamartia in Ghãtu Cultural Activity

Ghãtu has hamartia, a fatal flaw as it is about the deaths of the royal couple, the protagonists, who become the victims of unfortunate state or fortune hunter. Their early deaths moved the audiences that they have pity on the royal couple. It is the nature of audiences that they want the happy ending but there are very few people who have happy ending. Most people face the sufferings, a kind of tragedy. Only death is not a tragedy, facing different hardships is also a tragedy. Some sufferings can be much more torturous than the death. Death is one time death but suffering is hundred times death. The findings of the study show that the audiences entertain tragic story more than the happy story because tragic story is more didactic and philosophic as well as lesson oriented. And nobody can escape the ill fate. So, this paper employs Aristotle’s theory of pity and fear to analyze this Ghãtu site. In Ghãtu, the tragic flaw is not because of king’s arrogance or mistakes but because of his ill fate. His opponents suddenly attacked him. When he was slain on the battle field, this affected his queen and she immolated. This Ghãtu story is about how people become the victims of ill fates. The innocent people are victimized and punished. The audiences become aware of others mistakes as they have pity and fear. They do not want to fall into the vault of misfortunes although it is not avoidable. The study concerns on why people entertain tragic story.

The silent tragic reality of Hidden Hunger, anaemia, and neural-tube defects (NTDs) in India.

Hidden Hunger arising from nutritional iron-, folate-, and vitamin-B12-deficiencies is exceedingly common in India and has profound negative impacts on anaemia, on pregnancy, and on embryonic-foetal neurodevelopment in utero, which predisposes to NTDs and psychological-psychiatric manifestations in childhood. Whereas younger-to-middle-aged Indians fail to perform at maximum potential, the elderly are at risk for calamitous neurologic events. However, these micronutrient-deficiencies are eminently correctable through food-fortification. Therefore, the Indian Government can no longer afford the luxury of inaction by either denying or downplaying the gravity of this problem. What is critically needed from India's leaders is an urgent, clear-eyed reappraisal and act of anagnorisis-(an often startling self-recognition and discovery of a profoundly serious error and tragic flaw)-in failing to confront this problem for decades. Only when closely followed by a metanoia-(a transformative change of heart that triggers remedial action)-can they help India avoid a catastrophic tryst with destiny.

Dialogue and the Daring Disciple

Dialogue and the Daring Disciple

Heart of Darkness as Tragedy: A Study in Genre

This article argues that Conrad’s Heart of Darkness belongs to the genre of tragedy as outlined by Northrop Frye. As such, Kurtz becomes the central character, the tragic hero who is superior to other men but not to his environment, possessing powers of expression far greater than others. Kurtz, however, is subordinate to the wilderness, and his tragic flaw (hamartia) is partly and ironically his physical constitution. He also commits hubris by occupying a god-like role. Through hamartia and hubris, he falls, becoming tragically isolated. The hero’s isolation is the center of tragedy. At the point of death, the final phase of tragedy, Kurtz reaches a point of demonic epiphany. Marlow, too, plays an important part in the tragedy, assuming the role of the “tragic type of plain dealer” who “is an outspoken critic of the tragic action.”

An Exploration of Karna’s Last Days through the Prism of Aristotle's Hamartia

Purpose: The Mahabharata by Vyasa and the Iliad by Homer both have a surfeit of Heroes. The two great heroes are Karna from the Mahabharata and Achilles from the Iliad. They have a few things in common as their lives are heavily influenced by fate. As fate is inescapable, they confronted their death head-on. The figures of Karna and Achilles stand out dramatically in both Indian and Greek mythology respectively casting everyone else in the gloom, thus making both the masterpieces incomplete without these heroes. Though these spartan heroes were invincible due to their origin, they lay their lives in Kurukshetra and Trojan wars respectively. They decided to be glorious despite knowing the fact that they would die in the battle. Few characters in the ancient literature have been drawn with such perfect skill and insight into human nature as Maharathi Karna, a character who has never been truly understood, has been continually misinterpreted despite the completeness, candor, and clarity of the amazing Epic in providing us with specifics of his existence. The most important aspect of his life narrative which is often overlooked or glossed over by modern writers which has far-reaching implications is that Karna was born out of wedlock and so cast away at birth. His adroitness and the values he lived and loved for standing him in good stead for a hero. Design / Methodology/Approach: The paper is prepared by accumulating secondary data from educational websites and written articles. The study shall be carried out with the use of Research Journals, Scholarly Books, Doctoral Theses, and websites. This qualitative research is carried out by studying and interpreting the existing knowledge on the subject using the keywords “Karna”, “Epic”, “Tragic flaw”, “Battle”, “Loyalty” which are accessible in online articles, peer-reviewed journals, publications and a variety of related portals. Findings/Result: Karna's entire life was spent trying to figure out who he was and to find an answer to the same. Karna's life also shows us how life is full of unrelenting choices; the options being limited. Friendship with someone who has aided at times of need and to whom one has sworn lifelong loyalty and friendship is admirable, but there must be a fine line drawn between this duty and other, more important responsibilities. Karna is, without a doubt, a figure who, in Aristotelian terminology, possesses the classical features of a tragic hero, as well as a figure with a great deal of literary potential. Originality/Value: This paper attempts to make a sincere study of Karna as a tragic hero under classical examples of Aristotle's ‘Hamartia’ where a hero wants to ‘Triumph’ but while doing so he commits an intentional error and ends up achieving exactly the opposite with disastrous results. The story of the life of Karna is pre-eminently great nevertheless fate and destiny played an unwarranted and calamitous game facilitating the reader of the Epic to identify himself or herself with the Tragic Hero. Paper Type: Exploratory research paper.

Tragic Flaws

AbstractIn many tragic plays, the protagonist is brought down by a disaster that is a consequence of the protagonist's own error, his or her hamartia, the tragic flaw. Tragic flaws are disconcerting to the audience because they are not known or fully recognized by the protagonist—at least not until it is too late. In this essay, I take tragic flaws to be unreliable belief-forming dispositions that are unrecognized by us in some sense. I describe some different types of flaws and consider what we might do about them. Then I examine three types of policies for managing our tragic flaws: doxastic, dispositional, and methodological.

REALITY OF HUBRIS SYNDROME THROUGH HERMAN MELVILLE’S NOVEL MOBY DICK

Exposing hubris syndrome, a behavior pattern that is not in accordance with the norms of standard behavior and becomes part of a mental disorder is the objective of the study. This syndrome usually occurs in someone with power in hand, tending to be tyrannical and feeling to be always right. In the study of literature Hubris syndrome refers to the tragic flaw that brings a person, usually an important figure, to a self-destruction. Hubris syndrome can occur to anyone. The method used is descriptive qualitative tied to things experienced by the community termed a social phenomenon. The results show that the central figure in this novel, a captain of a whale hunting vessel, experiences hubris syndrome with three prominent patterns of behavior: narcissistic propensity, excessive confidence and loneliness. In the first pattern, the person concerned feels like a superhuman deserving to be admired and attended to. The second, excessive self-confidence cannot be accepted by rational thinking. The third is the consequence of the first two patterns of living a life of solitude because of losing contact with the surroundings. The storyline ends tragically; the entire crew is killed by the whale and only one left and becomes a narrator. Hubris syndrome in the novel is a reality meaning that anyone who has a certain position tends to have Hubris syndrome and this is in line with the findings in the field with a percentage reaching 92.

Neodoljiva privlačnost zla u romanu Uteha stranaca, Ijana Makjuana

This paper attempts to uncover the nature of evil in Ian McEwan's novel The Comfort of Strangers. The attraction of evil, irresistible and sometimes inexplicable self-destructive impulses and one's predestination to become a victim - these are just some of the motives this paper addresses in search for the answer, set in Venetian landscape, at once romantic and ominous. I also tried to find out whether the main protagonists are aware of the presence of evil, did they themselves invoke it or did it hunt them down and what kind of tragic flaw they are marked with. By analyzing these issues, I'm pointing at the extent of changes of one's identity and the tragic abuse of the weaknesses of character brought about by subconscious, unspoken desires.

From handsome sailor to cute youth: the material force of innocence in Herman Melville’s Billy Budd, Sailor

ABSTRACT Herman Melville’s Billy Budd, Sailor is a novel about war and erotic exploitation in which Billy Budd becomes the centre of the affective management aboard the war ship. Against the reading of his allegorical status as something that pertains to his pre-sociality, this essay reads the allegorical personification of goodness as a work of ‘practical abstraction’ in a Marxist sense. It argues that Billy’s ‘fall into story’ takes place at the moment when he, like a cute commodity, is exchanged between the representatives of the merchant ship and the war ship, and, using Sianne Ngai’s work on aesthetic categories, investigates how he, as a cute soldier body evokes ambiguous feelings of empathy and aggression. Comparing Billy’s abstract work to Rob Halpern’s contemporary war poetry it discusses how queer affect is curbed to nation binding purposes. Billy’s tragic flaw – his stutter – does not confirm an ‘absolute innocence,’ but provokes a discussion of how abstractions of good and evil are put to practical use in contemporary war efforts and how the young, American teenager is at the centre of such imagery.

How Tragic Flaws Resonate at Scale: Just Ask Shakespeare

What does Hamlet, Daenerys Targaryen and Persona development have in common? As an actress I had an in‐depth understanding of character development but struggled with creating insights from personas. I embarked on a quest to find out why. I interviewed one of the greatest authority's on Shakespeare, John Bell, AO, OBE FRSN about The Bard's greatest gift to storytelling, the invention of personality and characters. I share the realization that came next, how an individual character's tragic flaw can resonate at scale.

오셀로에 나타난 정의의 아이러니

In Shakespearean tragedies, the dramatic technique of contrast and antithesis is mainly used to present the themes as well as the characters. Shakespeare presents them not in a simple way of parallel or juxtaposition but in a ironic and complicated one. So, the ironic contrasts to love and justice are explored to clarify some key issues and to know the dramatic vision in Othello. Othello pursues justice to prove his love of Desdemona. to practice his justice, he makes up his mind to kill Desdemona. But he deals with and kills her unjustly. This is a major irony related to the justice theme. Othello’s tragic flaw - his habit of guessing and his superstitious character - drives him to indulge in unreasonable behaviors and illusions, so he makes the mistake of unwisely applying justice to love. In his value system justice overrides love.

Identity Recognition as a Tragic Flaw in King Lear by William Shakespeare: Application of Hegel’s Master-Slave Dialectic

According to several theories of recognition it has been established that an individual counts on the feedback of another to seek identity recognition. According to G.W.F. Hegel (1977) the identity of an individual being does not rest solely in himself but in its relationship to other beings. In his opinion, consciousness of a self exists in being acknowledged by another self and true selfhood exists in acknowledging the requirements and rights of the other self. This paper aims at analyzing the identity recognition as a tragic flaw in William Shakespeare’s famous tragedy King Lear in the light of Hegel’s critiques of self and the other. In this context, King Lear’s attainment of true selfhood and self- knowledge is going to be visualized as the consequence of his effort for identity recognition and then undergoing an extreme suffering. The present research aims to explore the process or stages of becoming a victim of identity crisis. The crisis of recognition for the protagonist of the play starts right in the first scene. This paper aims at discussing the identity recognition on the part of King Lear himself and others in the play as a cause of tragedy. By using Hegel’s Master-Slave Dialectic, this paper will open up a new research direction for the Shakespearean scholars.

Recent Articles

Recent Articles Takeshi Sakamoto, Joanna Maciulewicz, Donald R. Wehrs, Donald R. Wehrs, Robert G. Walker, Neil Guthrie, Christopher D. Johnson, Melvyn New, Melvyn New, Christopher D. Johnson, Neil Guthrie, Neil Guthrie, Robert G. Walker, Robert G. Walker, Christopher D. Johnson, Christopher D. Johnson, Christopher D. Johnson, Christopher D. Johnson, Christopher D. Johnson, Jakub Lipski, and Joanna Maciulewicz ADDISON Bernard, Stephen. “The First Advertisement for the Spectator,” N&Q, 66 (2019), 91–92. Discovered in the British Library and printed here is “a small paper ticket (there were no newspaper advertisements for the journal that day),” the first lines of which read, “To Morrow will be publish’d / A Paper intitled, / The SPECTATOR / which will be continued every / Day.” Two paragraphs summarize the rather astounding popularity (and proliferation of editions) from the modest beginning on March 1, 1711 through Bond’s scholarly edition (Clarendon, 1965), justifying Bernard’s conclusion that the advertisement is “remarkable . . . for its lack of presumption, and possibly for its lack of foreknowledge of what this journal would turn out to be.” Bernard, Stephen. “The Bibliographical History of the Spectator,” eBLJ (2019). Online. Bernard has compiled a thorough and valuable “bibliography of editions of and selections from The Spectator,” from the first complete edition, published by Jacob Tonson beginning in 1712, to the 2014 online version of Donald F. Bond’s standard modern edition, first issued in 1965. Included are British Library shelfmarks, as well as links to editions available in digital facsimile on ECCO. As Bernard suggests in his brief headnote, there is much work left to be done on the reception of Addison and Steele’s most influential periodical. Some light on this area will presumably be shed by the imminent edition from Oxford University Press of the Non-Periodical Works of Addison, edited by Paul Davies and Henry Power, with an accompanying volume of scholarly essays. Perhaps a boom in Addison studies lies ahead. Strawn, Morgan. “Addison’s Anglican Rationalism, Cato’s Tragic Flaw, and Stoicism,” 1650–1850, 24 (2019), 32–53. Strawn covers some well-traveled ground in order to weigh Stoicism against Anglicanism and find Cato a flawed hero. It served Anglican apologists to equate Dissenters (and religious enthusiasm more generally) with Stoic asceticism, for example, and it served Christians more generally to denigrate all classical philosophy as pre-Revelation and hence culpable. To the contrary, Cato was long celebrated for self-discipline and dedication to freedom, so ambivalence was built into Addison’s drama. Against Addison’s “joyful Christianity,” there was Cato’s melancholy and obsessive nature; against Anglicanism’s awareness of conscience’s fallibility was Cato’s certainty concerning the righteousness of his behavior. Cato’s suicide of course raises yet another barrier between classical and Christian thought. Still, Strawn faces an uphill battle in finding this ambivalence reflected in Addison’s drama. To be sure, as a tragic hero under siege, Cato could not exhibit the “pious cheerfulness” of the Spectator’s version of Christian morality. Rather, he [End Page 3] exhibits the melancholy we might associate with other tragic heroes, from Oedipus to Hamlet; that this connects Cato to the melancholic obsessiveness of Swift’s portraits of religious enthusiasm seems a bit strained. Even Cato’s response to his son’s death seems more an attempt by Addison to reach toward the excess of tragic sublimity rather than a manifestation of monomania. Cato is certain of his righteousness, unlike some ideal Christians who accept the fallibility of conscience, but such acceptance also undercuts the tradition of martyrdom, prevalent in both Catholic and Anglican communion. Strawn uses a 1928 edition of the play; he would have been better served by consulting the very good 2004 edition, edited by Christine Dunn Henderson and Mark E. Yellin (Liberty Fund), which includes more than thirty essays by Addison that reflect on his portrait of Cato and its political context. ASTELL Tann, Donovan. “Ascetic Cosmopolitanism: Imagining Religious Retreat in Mary Astell’s A Serious Proposal to the Ladies, Parts I and II and Letters Concerning the Love of God,” 1650–1850, 24 (2019), 305–327. Astell’s commitment to rigid Anglicanism has disturbed critics casting her...

THE POLITICAL ASPECTS FOUND IN WILLIAM SHAKESPEARE’S KING LEAR

King Lear explores classical elements like the striking peculiarities of an individual, or the violence of some exceptional character, disregarding the fundamental feelings common to mankind, and ignorant love of humanity. We find Lear, a central character with a particular tragic flaw or hamartia, that is, a character who is led into despair or misery through some sort of error either in himself or in his action; and to hubris which means excessive, self-destructive pride. Lear is led into suffering after which he has a greater understanding of both himself and the world. Lear is an attractive personality with many virtues who has a fairly normal balance of good and evil within him. He is proud and does not know himself and it is a “normal” fault but after it is acted on by events in the play, it brings him down. Evil is let loose in the society of tragedy, and destroys both good and evil characters. Evil unavoidably pollutes and infects the tragic hero himself-Lear. The nature of evil is reflected from the characters of Lear and his first two daughters, Goneril and Regan. Lear undergoes range of tragic life because of his blunder-divides his kingdom and wealth based on parameter of love- which triggers many conflicts and causes many sufferings. His first two daughters, Goneril and Regan, make maneuver to get the inheritance by flattery but Cordelia, Lear’s third daughter, represents the struggle of human soul to defend truth and responsibility. To get the kingdom and wealth, she does not want to lie herself and her father by flattery. She just keeps silent or realizes that to love, obey and devote herself to her father is a must. The main ingredient of the play is about human beings and their life. Human life and their problems become subject matter and their basic natures which activate their action and speeches become the object of the play. Human beings and their basic natures are presented by all the characters who act and say based on their roles. Their life and their problems are represented by their life in the kingdom and their social problem happening in it. Since the play tells us the life of the king and the problem of the kingdom, so it exposes all aspects and problems of life in which one of them is the political aspect consisting of dividing kingdom, ruling authoritarian monarchy, doing conspiracy, existing of rivalry, emerging of conflict of interest and treachery.