Tragic Hero Research Articles

Study of Sublimation in Tragic Drama

Tragedy, as an important category of drama, has been a hot topic in literature and theater since ancient times. Taking the tragedy theories of Aristotle, Hegel, Schopenhauer, Sigmund Freud and other Western scholars as a guide and Les Misérables and The Phantom of the Opera as the main examples, this paper studies the aesthetic sublimation of tragedy. It is found that the elements of music, story, dramatic poetry, dance and performance integrated in a tragic musical can form the grandeur and magnificence of tragedy. The audience gain a sense of beauty and pain, and pleasure and sublimity from the tragic heroes. Tragedy prompts the awakening of human consciousness and the liberation of individuality, calling for social morality, civilization and progress.

Image Archetypal from the Novel “Frankenstein” by Mary Shelley

Mary Shelley’s “Frankenstein” is a crucial work in Gothic literature and science fiction, exploring human ambition, innovation, and isolation. Using Carl Jung's archetypal imagery, this study examines the novel’s key themes and characters. A qualitative content analysis was conducted on the text and secondary literary sources. Prominent archetypes identified include the Overreacher, the Monster, the Promethean Figure, the Wanderer, and the Tragic Hero. Victor Frankenstein is analyzed as both the Overreacher and the Tragic Hero, symbolizing hubris and downfall. The Monster embodies isolation and alienation, while Victor’s act of creation reflects the Promethean Figure, symbolizing innovation and ethical dilemmas. Both characters are portrayed as Wanderers, emphasizing their existential quests for meaning and belonging. These archetypes play a central role in the narrative. Shelley’s use of archetypal imagery enhances the novel’s critique of scientific advancement and ethical responsibility. Victor’s tragic heroism serves as a cautionary tale about unchecked ambition, while the Monster’s plight underscores the societal need for empathy and acceptance.

Nothing and Infinity: Black Life’s Response to Ontological Terror

ABSTRACT This article explores the conclusion of Calvin Warren’s book Ontological Terror and the nihilistic suggestion for Black life to reject humanism. In the text’s final chapter, Warren unexpectedly references Danish philosopher Søren Kierkegaard’s leap of faith and reflects on Black life’s enduring spirit through an anti-Black world. This article’s analysis faithfully traces Warren’s nihilistic arguments against humanism and scaffolds them through his reference to Kierkegaard. Utilizing the methods of critical philosophy of race and Black existential philosophy, the first section contextualizes Ontological Terror’s main arguments, places Warren’s reference to Kierkegaard inside a longer Black existential lineage, and grafts Kierkegaard’s concept of the tragic hero onto Warren’s antihumanism. The second section offers a reconstruction of Warren’s ideas through Kierkegaard’s knight of infinite resignation and the leap of faith. This section stresses the importance of both endurance and spirit for Warren’s divestment from humanism. The third section puts Warren’s nihilism in conversation with the work of Black feminist philosophers to offer an alternative way to interpret divestment from humanism. The article concludes by engaging David Marriott’s and Frantz Fanon’s understanding of invention to help rethink the links between nihilism, future-oriented thinking, and Black endurance against anti-Blackness.

Intellectuals in Chinese Novels at the Dawn of the 21st Century

The dawn of the 21st century saw images of intellectuals in novels change in a drastic way. Intellectuals, and those in the humanities in particular, are no longer portrayed as privileged Enlightenment thinkers or sages with Confucian ideas of salvation. In the novels that take intellectuals as their subject matters, such characters often end up involved in betrayal, self-exile, or spiritual/mortal death. This is not a historical process, nor an inevitable course for intellectuals to be sure, but it remains a legitimate question to ask why these fictional intellectuals are becoming, more often than not, new tragic heroes. Why are they becoming misfits in their society and ending up in exile, abandonment, and even death? The present paper examines different images of intellectuals and the makings of their destinies.

The Tragedy of Humanity: Christopher Marlowe’s The Jew of Malta Revisited

Christopher Marlowe’s The Jew of Malta is a significant example of the transition from Morality Plays to a period of more developed and mature drama in the Elizabethan period. The themes that Marlowe handles and the protagonist he presents in the play emerge as aspects of a distinctive approach to dramatic representation and the concept of drama of that time. The play is set against the background of the struggle for economic, political, and military dominance between the Catholic Spain and Moslem Ottoman Empires and the Catholic administration and Jewish mercantile class in Malta. Religious conflicts and bigotry, intrigues, betrayals, and revenge plans committed by almost all characters representing different religious communities, ethnic prejudices that affect not only individuals but also the whole society, greed, and moral corruption emerge as the basic themes. Although the full title of the play was Famous Tragedy of the Rich Jew of Malta, the play could not gain the status of a tragedy in the Aristotelian or Elizabethan sense of the word for many critics due to its dominant farcical characteristics. For a modern reader, however, The Jew of Malta can be considered as a satirical tragedy, the tragedy not of the protagonist Barabas, but of humanity that craves material benefits and political power, and for the sake of achieving these, commits all kinds of villanies including exploitation, theft, and murder, and as a result, socially experiences the fall of the tragic hero.

Kullervo – A Symphony for a Tragic Hero

The last decade on the 19th century saw a major crisis of identity in what is known today as Finland. Having emerged from under centuries of Swedish rule and being incorporated into the Russian Empire, the population turned to its true ethnic roots. The compilation and the publishing of the Kalevala set in motion a series of cultural and artistic events which resonated deeply with the political aspirations of the moment. Amidst this effervescence came the young Jean Sibelius to present one of his earliest monumental works, Kullervo Op 7. Often mislabeled as a symphonic poem, this programmatic symphony draws upon the story of the Kalevala’s 6th cycle. The unfolding plot is a typical tragic hero story set in a very Finnish framework. The composer had therefore to solve the task of presenting a particular version of a universal archetype and to create a symphony that can be both a testament to the struggles of his own time and a monument within the history of universal music. Keywords: Sibelius, Kullervo, Kalevala, tragic hero

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.

Black Sheep as Tragic Hero: How Disruptive Students Resist the Oppression and Why They Fail to Liberate?

Within the educational landscapes, there exists a prevailing dichotomy. On one side stand the obedient students, absorbing knowledge from their teachers unconditionally, and on the other side stand their non-compliant counterparts who are prone to disrupt the prescribed order, labeled as the black sheep of the academic flock. In education, obedience and conformity are celebrated, while noncompliance is stigmatized. Researchers often focus on strategies to control disruptive behavior, perpetuating teacher-centered approaches that maintain power imbalances. However, disruptive behavior is not just defiance. It's a response to an oppressive educational paradigm. This study delves into the narrative of these disruptive students, exploring their resistance to an educational system with intrinsic oppressive nature and the obstacles they encounter in their pursuit of liberation. The theoretical framework of this study is mainly constructed upon Freires critical pedagogy theory and literature on power dynamics to examine power dynamics in education settings and to understand students resistant behavior and why it fails to provoke change.

Captain Ahab as a Hero in Melville’s Moby-Dick

Herman Melville’s Moby-Dick tells the story of Ishmael, a sailor who joins the whaling ship Pequod, captained by the obsessed and vengeful Captain Ahab. Ahab’s sole mission is to hunt down and kill the legendary white whale, Moby-dick, who had previously bitten off Ahab’s leg at the knee. As a towering masterpiece of American literature, Moby-Dick is a novel that defies simple categorization and is renowned for its rich narrative complexity and profound thematic depth. Central to the novel is the character of Captain Ahab, whose quest to vanquish the white whale, Moby-dick, forms the back bone of the story. On the one hand, Ahab embodies various heroic qualities; on the other, Ahab is also perceived as a monomaniacal villain due to his apparent flaws and descent into madness. Through an examination of Ahab’s actions, motivations and interactions, this essay argues that Ahab’s heroism is multifaceted, encompassing elements of classical heroism as well as tragic heroism by exploring Ahab’s heroic traits and their implications in the broader context of Melville’s masterpiece.

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.

Propp's Narrative Functions: Deciphering Hamlet's Character Transformation

Narrative analysis serves as a potent tool to unravel the subtleties of character progression and thematic resonance within storytelling. This study investigates the character transformation of Hamlet, the iconic protagonist of William Shakespeare's "Hamlet," employing Vladimir Propp's Morphology of the Folktale as an analytical framework. Through the lens of Proppian functions, the study explores Hamlet's journey from grief-stricken prince to tormented tragic hero, shedding light on the interplay between structural narrative components and emotional development. The research employs Propp's functions ranging from Absentation and Interdiction to Violation and Struggle to dissect pivotal moments in the play. These functions elucidate Hamlet's responses to absence, his internal conflicts, and his quest for justice. By mapping Hamlet's trajectory onto Propp's archetypal functions, this study unveils the intricate relationship between narrative structure and character metamorphosis. The analysis not only deepens our understanding of "Hamlet" as a timeless masterpiece but also exemplifies the synergy between traditional character analysis and structural narrative theory.

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.

Developing a narrative theory of deception for the analysis of mock-Covert Human Intelligence Source (CHIS) accounts

Human source intelligence (HUMINT) practitioners are concerned with detecting informant deception, and previous research indicates that the verbal content of an informant’s narrative can be used to identify potential deceit. The current study extends previous research by analysing the narrative structure and narrative identity of accounts provided by 22 participants undertaking the role of a mock-informant. Results indicate that deception affects the structure of a mock-informant narrative, with deceptive mock-informants employing abstract introductions and evaluative remarks to withhold information and to distract their listeners with emotional content. Additionally, deceptive mock-informants are more likely to express a low potency narrative role, such as a victim or tragic hero. Furthermore, there is tentative evidence to suggest that an analysis of narrative identity can also provide an indication of varying levels of motivation and cooperation among truthful mock-informants. These findings have implications for HUMINT practitioners in the field and add to the wider body of deception detection research.

Shakespeare’in Macbeth Eserinde Kutsal Kurban; Paredros

Shakespeare’s works especially his tragedies can be read as a ritual. The archetypical unconscious overtly present in Shakespearean tragedies offers a rich source of ancient solstice cults and ritual symbols. Shakespeare's emphasis on the contradiction of surrogates, the Great Mother archetype, witches and the Paredros shows that art and ritual forms are combined within the ritual chronotope in Shakespeare’s works. The tragedy of Macbeth constitutes textual evidence in terms of the tragic hero’s quest from a usurper king to a sacred scapegoat. In accordance with the recent studies on psychoanalytical approach to Shakespeare’s characters, Macbeth’s infantilization and his encounter with his anima will guide us to understand the femininity principle in the play as the return of the suppressed Terrible Mother. In this paper, Macbeth’s transfiguration from a tragic hero to an oedipal Paredros will be examined in detail with the ancient origins of the terms.

Non Fit Morte Miser: Pompey The Great as Aristotelian Tragic Hero in Lucan’s Bellum Civile .

Abstract: Pompey’s character in Lucan’s Bellum Civile provokes the same emotions as the tragic hero. Like an Aristotelian tragic hero, Pompey is condemned by fate but also exhibits certain defects which lead to his defeat and murder. Lucan focuses on the flaws of indecision and ambition which contribute to the general’s fall from his illustrious position. Although Pompey is intellectually and morally imperfect after the Battle of Pharsalus, he shows signs of improvement in both respects. At his assassination, moreover, Pompey accepts his place within fate, faces death magnanimously, and carries on the resistance against Caesar even after death.

Vocational Vanity and Career deterioration in Ibsen’s The Master Builder

In The Master Builder, Henrik Ibsen gave the stage Halvard Solness, an architect and businessman as a tragic hero whose fall is precipitated by various factor: psychological, social and occupational. And while the psychological and social factors are researched and commented on extensively by many scholars and critics, the last area which has to do with Solness’s profession is hardly approached. Therefore, in the study, Solness’s business world, vocational principles and work ethics are explored in an attempt to read Solness’s tragic end as the natural corollary of his failure to maintain a staunch work morality. Reading The Master Builder from a vocational point of view proved that Solness possessed a flawed business logic that compromised his career and led him blindly towards his end. He is by no means the empowering boss, but a parasitic business owner who plans to promote his own occupational interests at the expense of his employee’s hard work.

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.

Faulty Power in the Faculty Tower: James Hynes’s The Lecturer’s Tale as a Parody of William Shakespeare’s Macbeth

ABSTRACT The current article takes established theoretical postulates about parody as a point of departure for examining how James Hynes’s postmodern novel, The Lecturer’s Tale (2001), contributes fresh fictional angles to the field of campus literature by building on William Shakespeare’s Macbeth to chart its own protagonist’s transition from victim to victor and to sound a cautionary note about ill-advised and addictive pursuit of power. I maintain that Nelson Humboldt, a visiting adjunct lecturer at the elite University of Midwestern at Hamilton Groves, Minnesota, renders the role of Shakespeare’s ambitious eponymous tragic hero, whose usurpation of the crown wreaks havoc on the Kingdom of Scotland. This accounts for Hynes’s satirical portrayal of academia as a battleground where several argumentative and erudite professors, craving praise and prize and armed with words and swords, tend to wage battles of wits and wills and to get entangled in a web of intrigue. Finally, the paper underlines that the novel’s comic vein veils serious concerns about the defects and difficulties afflicting contemporary American academia.

Of catarrh and catharsis

Of catarrh and catharsis