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Journal articles on the topic 'Tragediya'

Author: Grafiati

Published: 2 June 2025

Last updated: 31 July 2025

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1

Xurshida YULDASHEVA. "ABU ALI IBN SINONING “SHE’R SAN’ATI” VA ABU NASR FOROBIYNING “SHE’R SAN’ATI” RISOLALARINING QIYOSIY TAHLILI." UzMU xabarlari 1, no. 1.4 (2025): 344–46. https://doi.org/10.69617/nuuz.v1i1.4.7294.

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Ushbu maqolada Abu Ali ibn Sino va Abu Nasr Forobiyning SHe’r san’ati risolalari qiyosiy tahlil qilinadi. Tadqiqotda har ikki mutafakkirning poetik nazariyalari, drama, badiiy uslub va nutq hodisalari haqidagi qarashlari o‘rganiladi. Shuningdek, maqolada yuksak san’at va tuban san’at, tragediya va komediya janrlari haqida Ibn Sino va Forobiyning fikrlari, ularning o‘zaro o‘xshash va farqli jihatlari tahlil qilinadi.

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2

Makhlin, V. L. "Dostoevsky in Dostoevsky. M. Bakhtin and the methodological turnaround in the 1910s–1920s." Voprosy literatury, no. 5 (October 11, 2023): 83–104. http://dx.doi.org/10.31425/0042-8795-2023-5-83-104.

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The history of Dostoevsky’s reception knows a relatively brief but extremely intense and productive period of ‘paradigm shifting:’ displacing the philosophical journalism of Rozanov, Merezhkovsky, Shestov and others in the 1910s and 1920s was literary criticism proper. The paper is concerned with this methodological turnaround in Dostoevsky studies. Inspired by V. I. Ivanov’s article ‘Dostoevsky and the novel-tragedy’ [‘Dostoevsky i roman-tragediya’] (1911), young scholars of the day (V. Komarovich, L. Grossman, B. Engelgardt, and M. Bakhtin, among others) attempted to comprehend ‘Dostoevsky i

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3

Islomov, Jurabek Soxibnazarovich. "USMON AZIM DRAMATURGIYASIDA DRAMATIK JANRLAR RANG-BARANGLIGI." USTOZLAR UCHUN 57, no. 2 (2024): 341–47. https://doi.org/10.5281/zenodo.11148149.

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Annotatsiya. Mazkur maqolada Usmon Azim asarlari misolida hozirgi zamon adabiyotida dramatik janrlarning xilma-xilligi xususida so‘z yuritilgan. Chunonchi, ijodkorning ushbu turga mansub bo‘lgan tragediya, drama, dramatik doston, komediya, ertak-drama kabi bir qancha janrlarga oid asarlar yaratganligi hamda ayrim hollarda mazkur janrlarning nazariyalariga an’anaviy, ba’zan esa novatorona yondashganligi tahlillar asosida ko‘rsatib berildi.

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4

Nigina MAVLYANOVA. "O‘ZBEK DRAMATURGIYASI TADRIJI VA UNING TURLI JANRLARIDA BOLALAR OBRAZI TASVIRI." UzMU xabarlari 1, no. 1.1 (2024): 254–57. http://dx.doi.org/10.69617/uzmu.v1i1.1.469.

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O‘zbek dramaturgiyasining tadrijiy rivoji XX asrning boshlariga bog‘liq bo‘lib, XXI asrda ham davom etdi. Garchi, o‘zbek dramaturgiyasi cho‘qqi nuqtasiga chiqmagan bo’lsa-da, o’zbek dramalari mavzu va qahramonlar ko‘lami jihatdan boydir. O’zbek dramaturgiyasida drama, musiqali drama, komediya, fojia (tragediya) janriga mansub sahna asarlari yaratilib, tomoshabinlarga badiiy-estetik zavq berish hamda ularni mehnatsevarlik, qahramonlik, insonparvarlik, vatanparvarlik, xalqlar do‘stligi ruhida tarbiyalashga xizmat qildi. O‘zbek bolalar dramalarida bolalarni ilm olishga, o‘zaro do‘stona yashash, b

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Dikmonienė, Jovita. "Senekos dramų herojų jausmų raiška ir poveikis žiūrovams." Literatūra 50, no. 3 (2008): 36. http://dx.doi.org/10.15388/litera.2008.3.7826.

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Antikinës tragedijos esmë yra neatsiejamai susijusi su herojø jausmais, o prasmë ir vertë – su þiûrovø ir skaitytojø emocijomis. Pasak Oksfordo universiteto profesoriaus Oliverio Taplino, „jausmai yra tragedijos ðirdis“1 . Ákvëptas Thomo Stearnso Elioto apybraiþos „Seneka Elþbietos laikø vertimuose“, profesorius knygos Graikø tragedija scenoje (Greek tragedy in action) epigrafu pasirinko citatà, kurià perfrazavo taip: „Graikø tragedijoje uþ þodþiø slypi veiksmas, uþ veiksmo – jausmas: tai, kas abstraktu ir tai, kas konkretu, yra viena, jausmas ir prasmë yra nedalûs.“2 Pasak Taplino, jei traged

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6

Bauer, Una. "Postdramatic Tragedy and Fear." Narodna umjetnost 57, no. 1 (2020): 217–34. http://dx.doi.org/10.15176/vol57no110.

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This article engages with conceptual constellations which allow a contemporary postdramatic theatre production, specifically Socìetas Raffaello Sanzio’s theatrical series Tragedia Endogonidia (2002 – 2004) to be regarded as a tragedy or a series of tragedies. Particular emphasis is given to the role of fear in understanding Tragedia Endogonidia as a tragedy. My claim is that Tragedia Endogonidia contributed to the modification of contemporary understanding of tragedy to, at the same time, a more abstract and a more explicitly material one, where the anchoring of the tragic into a concrete huma

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7

Abdusalom, O'ktamov, and Murotova Otabek qizi Dilnozaxon. ""PADARKUSH" DRAMASIDA REMARKALAR TAHLILI." Results of National Scientific Research 2, no. 3 (2023): 67–70. https://doi.org/10.5281/zenodo.7772366.

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8

Jo'rayeva, Dilnozaxon Otabek qizi. "DRAMATIK ASARLARDA REMARKALAR HAQIDA." Multidisciplinary Journal of Science and Technology 5, no. 5 (2025): 939–40. https://doi.org/10.5281/zenodo.15484388.

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9

Davydov, Ruslan. "The last Russian hunters on Spitsbergen in 1851—1852: the tragedy of the crew of the ship “Grigorij Bogoslov”." OOO "Zhurnal "Voprosy Istorii" 2020, no. 10-2 (2020): 185–95. http://dx.doi.org/10.31166/voprosyistorii202010statyi35.

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This publication is dedicated to the tragedy of the crew of the ship “Grigorij Bogoslov” during a Pomor hunting expedition to Spitsbergen in 1851. It is prepared mainly on the basis of documents from the State Archive of the Arkhangelsk Region and the Russian State Historical Archive, most of which publish for the first time.

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10

De Santis, Guillermo. "El Drama Satírico y el reverso de la Tragedia." CODEX – Revista de Estudos Clássicos 4, no. 2 (2016): 4. http://dx.doi.org/10.25187/codex.v4i2.5318.

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<p class="normal">El presente artículo presenta el Drama Satírico como el reverso teatral de la Tragedia. Como forma teatral inserta en el “espectáculo trágico”, la función del Drama Satírico no puede ser analizada separadamente de la Tragedia y se propone que el contraste con esta última es un modo acertado de análisis dada la escasez de fuentes que se poseen.</p><p class="normal">A partir del análisis de las implicancias humorísticas del lenguaje, la <em>ópsis</em> y la gestualidad, este artículo propone que el Drama Satírico opera fundamentalmente sobre las emo

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Ashurova, Z. "UILLIAM SHEKSPIRNING " MAKBET " TRAGEDIYASINING QISQACHA TA'RIFI HAQIDA." Innovation: The Journal of Social Scienses and Researches 1, no. 1 (2022): 95–97. https://doi.org/10.5281/zenodo.7181560.

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Амонова, Дилафруз. "Koreya adabiyoti. Koreys yozuvchilarining ijodiga sharh." Актуальные вопросы лингвистики и преподавания иностранных языков: достижения и инновации 1, no. 1 (2024): 409–12. http://dx.doi.org/10.47689/topical-tiltfl-vol1-iss1-2024-pp409-412.

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Sharq qadimdan she’riyat tuygʻulari oʻlkasi boʻlgan. Shu boisdan Sharq badiiy adabiyotida, ayniqsa, lirika keng rivojlangan. Drama hayotni harakatda ifodalab, muallif nutqisiz aks ettiradi. Adabiyotda qorishiq turlar ham mavjud. Mas, lirika va epos xususiyatlari birlashib liro-epik turni tashkil etadi. Liro-epik turga poema, ballada, doston, masal kabilar kiradi. Epos, odatda, 3 ga boʻlinadi kichik epik shakl (latifa, ocherk, ertak, hikoya), oʻrta epik shakl (qissa) va katta epik shakl (roman). Lirika mazmun va shaklga koʻra, gʻazal, muhammas, marsiya, ruboiy, qasida, sonet, qoʻshiq va boshqal

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Marušič, Jera. "Tragiški užitki v Aristotelovi poetiki." Keria: Studia Latina et Graeca 2, no. 2 (2000): 111. http://dx.doi.org/10.4312/keria.2.2.111-131.

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Naše pojmovanje tragiškega užitka nedvomno izhaja iz Aristotelove Poetike; ta užitek dejansko povezujemo s sočutjem in strahom, pa tudi s katarzo, pojmi, ki izhajajo iz te razprave. Sicer pa je težko pojasniti, od kod užitek: občutimo ga, ko smo priče najbolj grozljivim prizorom v tragedijah, prizori, ki bi nas navdali s hudo bolečino, če bi se dejansko zgodili. Ali nam Aristotelova razprava o tragediji in o užitku, ki izhaja iz sočutja in strahu, pomaga pojasniti paradoksalen značaj tega užitka? V tem članku iščem Aristotelov odgovor, zakaj tragedija navdaja z užitkom.

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14

Hutagaol, Gilbert Alexander, and Diah Anggraini. "PENDEKATAN TIPOLOGI DALAM PERANCANGAN MUSEUM TRAGEDI PANDEMI DI PADEMANGAN, JAKARTA UTARA." Jurnal Sains, Teknologi, Urban, Perancangan, Arsitektur (Stupa) 4, no. 1 (2022): 545. http://dx.doi.org/10.24912/stupa.v4i1.16901.

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Museums are a means of learning and knowledge for the general public, especially knowledge about history and culture. Museums are basically made to commemorate various events in the past with documents to objects left behind. Historical objects stored in the museum are representations of past events that can be remembered and become common. Hopefully, it will be a lesson in the future. Seeing that the current level of visits to museums in Indonesia is still low, so a rethinking of the typology of museums is needed, which can remind the interest of the Indonesian people to make museums a means

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15

Wardaya, Manunggal Kusuma. "Keadilan Bagi yang Berbeda Paham: Rekonsiliasi dan Keadilan Bagi Korban Tragedi 1965." Mimbar Hukum - Fakultas Hukum Universitas Gadjah Mada 22, no. 1 (2012): 96. http://dx.doi.org/10.22146/jmh.16211.

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Human rights enforcement is one improperly- accomplished agenda in this post-1998 democratisation. Severe human rights violations such as 1965 Tragedy remain obscure, nonlitigation resolution (e.g. recognition and compensation) is considered the best solution. Recognition also is a form of respect to human rights and a stepping stone to resolve other tragedies. Penegakan HAM merupakan salah satu agenda demokratisasi yang belum sepenuhnya tercapai. Pelanggaran-pelanggaran HAM berat seperti Tragedi 1965 masih belum jelas sehingga penyelesaian nonlitigasi (pengakuan dan kompensasi), dianggap seba

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Papio, Michael. "On Seneca, Mussato, Trevet and the Boethian “Tragedies” of the De casibus." Colloquium, no. 9788879166539 (September 2013): 261–73. http://dx.doi.org/10.7359/653-2013-papi.

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In 1365 Boccaccio discovered Martial’sand concluded from a couple of their verses that Seneca the tragedian and Seneca the moralist were two distinct figures. This revelation renewed his interest not only in the tragedies themselves, but also in Mussato’s use of them and in Trevet’s commentaries. This essay explores Boccaccio’s perception of the ethical purpose of tragedy and the way he combined it with the lessons of thein order to create the “tragic” stories of the.

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17

Bilić, Anica. "Intertekstualni postupci i relacije u povijesnoj tragediji "Damjan Juda" Ante Benešića." Croatica et Slavica Iadertina, no. 6 (January 18, 2017): 289. http://dx.doi.org/10.15291/csi.695.

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U povijesnoj tragediji Damjan Juda Ante Benešića, objavljenoj 1905. u Zagrebu, najprije se promatraju prepoznatljivi utjecaji što su ih izvršile ličnosti iz hrvatskoga književnoga i kazališnoga života zahvaljujući čijoj je kontaktnosti i kreativnoj suradnji došlo do promatranoga dramskoga djela, potom se prelazi na utjecajidejama, građom i temom te na posljetku se s utjecaja djela i autorova umijeća prelazi na intertekstualne postupke i relacije.Povijesna tragedija Damjan Juda uspostavlja dijakronijski intertekstualni odnos s tekstovima prošlih epoha i drukčijih poetika: sa srednjovjekovnim le

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18

Krine, Nawal, Mouloud Kenioua та Mostapha Tobchi. "Poetic manifestations of tragedy in the collection "Eleven Planets" by Maḥmoud Darwīsh". Journal of Literary Education, № 8 (30 грудня 2024): 200–220. https://doi.org/10.7203/jle.8.28889.

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AbstractPoetry and tragedy have frequently been seen as having different goals; poetry seeks to praise and embody beauty, whilst tragedy tends to focus more on sorrow and suffering. Nevertheless, human sorrow, love, and battle serve to restore this bond between love and battle. The human/poet who experiences the specifics of their plight in order to transform them into poetry approaches their relationship with the tragedies that shatter throughout the poem in a vivid and distinctive way. Poets differentiate between pieces of poetry, as each one carries its own tragic aspects that are either ha

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Davis, P. J. "The Chorus in Seneca'sThyestes." Classical Quarterly 39, no. 2 (1989): 421–35. http://dx.doi.org/10.1017/s0009838800037496.

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The relationship between the choruses of Seneca's tragedies and the action of the plays in which they occur is one of the least understood and most controversial aspects of the Roman dramatist's work. It is often asserted that Seneca's choral odes are mere act-dividers, that their relationship with the play's action is loose and unconvincing. I would not care to assert that the handling of the chorus is flawless in all instances in Seneca's tragedies (or indeed in the works of any ancient tragedian), but in his best works it is, I believe, masterly. In this paper I propose to illustrate the cl

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Salcudean, Minodora, and Raluca Muresan. "The emotional impact of traditional and new media in social events." Comunicar 25, no. 50 (2017): 109–18. http://dx.doi.org/10.3916/c50-2017-10.

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In past times, media were the sole vector to reflect in their entire complexity the events surrounding major world tragedies. Nowadays, social media are an essential component of the media process and classical press channels are connected to the social networking flow, where they can find information and, at the same time, tap into the emotional pulse of society. On 30 October 2015, a Bucharest nightclub was destroyed in a blaze tragedy in which 64 people were killed, most of them young. The present study focuses on how Romanian mainstream media and social media came together and made use of

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Holzcan, Eduardo. "Pasiones en tiempos de cine." Ética y Cine Journal 4, no. 2 (2014): 91–93. https://doi.org/10.31056/2250.5415.v4.n2.7807.

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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writ

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Ulug‘ov, Abdulla. "Adabiy qahramon obrazi." Узбекистан: язык и культура 1, no. 1 (2024): 4–32. http://dx.doi.org/10.47689/ulac-vol1-iss1-y2024-pp4-32.

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"Adabiy qahramon" deganda, birinchi navbatda, badiiy asarlardagi inson obrazi nazarda tutiladi. "Adabiy qahramon" esa hamisha adabiyotshunoslikda muhim muammolardan biri sanaladi. Badiiy asarlarda kishilar obrazi hayot voqealari jarayonida, xayol-tasawurdagi olam ichida ko'rsatiladi. Ular fe’l-atvori, xatti-harakatiga ko'ra bir-biridan ajralib turadi. She’riy, nasriy va drama turiga mansub asarlardagi kishilar obrazi o'ziga xos xususiyatlari bilan e’tiborni tortadi. Adabiy qahramon obrazi badiiy asarning tarkibiy qismini tashkil etuvchi, uning syujeti va kompozitsiyasini belgilovchi juda ko'p

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Victoria Vargas, Ivan Andreé. "El concepto de tragedia en Sigmund Freud." Revista Ciencias y Humanidades 11, no. 11 (2024): 405–33. https://doi.org/10.61497/6dp8j877.

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Resumen El psicoanálisis es a menudo confundido en sus pretensiones y objetivos. Con el propósito de adelantar un ejercicio de claridad respecto al proceder de la disciplina freudiana y sus conceptos “bastardos”, se propone una formalización del concepto de tragedia desde el corpus teórico psicoanalítico. Para el cumplimiento de este objetivo se revisan, a la luz de la teoría, los textos que refieren a la tragedia como su tema principal. Pronto se hace manifiesto que el concepto psicoanalítico de tragedia atraviesa transversalmente la obra freudiana y permite una revisión y utilización de su a

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Suwarna, Dadan, and Aquarini Priyatna. "TRAGEDI DALAM LIMA CERPEN KARYA MARTIN ALEIDA (Tragedy in Martin Aleida’s Five Short Stories)." METASASTRA: Jurnal Penelitian Sastra 7, no. 1 (2016): 13. http://dx.doi.org/10.26610/metasastra.2014.v7i1.13-22.

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Tulisan ini memaparkan teks tragedi sebagai peristiwa atau keadaan yang dialami tokoh cerita dengan menggunakan pendekatan semiotik guna menjelaskan peristiwa tanda, simbol, serta interpretasi yang menjadi acuan peristiwa kemanusiaan. Tanda, simbol, dan segala ekspresi kebahasaan di dalamnya dipakai sebagai cara teks tragedi dijelaskan. Semioik Eco merupakan model kajian yang menyeluruh karena mengaitkan bahasa, interpretasi maknawi, serta latar belakang yang mengaitkannya dalam kelima cerpen yang dianalisis. Tragedi yang penulis temukan, antara lain (1) tragedi sebagai keadaan, (2) sebagai ak

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Junco, Ethel, and Olivia Cáttedra. "Madre y destino en la tragedia griega." Conocimiento y Acción, no. 1 (October 1, 2021): 7–24. http://dx.doi.org/10.21555/cya.i1.2021.2195.

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A partir de dos tragedias de Eurípides, revisamos la figura de madre mítica en función de paradigma cultural en orden a establecer relaciones históricas. Vinculamos la perspectiva del helenismo del siglo IV y los fenómenos contemporáneos sobre tres claves: el distanciamiento de lo divino y su intento de resignificación a través de una ética horizontal, la generalización de la violencia como estadio de convivencia normalizado, la necesidad de referentes a nivel individual y social. En los textos elegidos, el motivo del destino enfocado desde las consecuencias de la guerra desarrolla tipos contr

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HOXBY, BLAIR. "The doleful airs of Euripides: The origins of opera and the spirit of tragedy reconsidered." Cambridge Opera Journal 17, no. 3 (2005): 253–69. http://dx.doi.org/10.1017/s0954586706002035.

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Scholarly consensus denies a real connection between ancient tragedy and early opera because music historians have measured early operas against an idealised conception of Attic tragedy. However, the pioneers of opera were seeking to revive a Euripidean style of musical tragedy as it was performed in the ‘decadent’ theatres of the Hellenistic era. Euripides's tragedies established conventional relationships between musical expression and the representation of the passions. Baroque opera is seen as a strongly complex reading of a set of Euripidean tragedies that enjoyed favour in the Hellenisti

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Guţu, Bogdan Lucian. "Singularity and Multiplication In The Translation of The Dramatic Text." Theatrical Colloquia 10, no. 1 (2020): 148–57. http://dx.doi.org/10.2478/tco-2020-0010.

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AbstractThis text in front of you is the translator’s review, a case study, but also a deep analysis of tragedy Menelao (una tragedia contemporanea) written in 2016 by Davide Carnevali. The playwright sees în Menelaus an anti-hero with aspirations of a hero: recently returned after an exhausting fight, the king of Sparta finds himself sliding into an existential crisis which throws him into an endless depression. The plot follows the journey and the devastating consequences of a psychosis generated by post-traumatic shock caused by the war which the Spartan king survived… Without a doubt, the

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Whissell, Cynthia. "Quantifying Genre: An Operational Definition of Tragedy and Comedy Based on Shakespeare's Plays." Psychological Reports 101, no. 1 (2007): 177–92. http://dx.doi.org/10.2466/pr0.101.1.177-192.

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Emotion and imagery in the words of Shakespeare's plays, as measured by the Dictionary of Affect in Language, were used to predict genre (tragedy or comedy). Genre distinctions, which were associated with small effect sizes, were established on the basis of 23 plays and then applied to other plays. A discriminant function which combined lower emotional Pleasantness with higher emotional Activation or arousal and more pictorial Imagery successfully (91% of the time) predicted whether a play was a tragedy or a comedy. The genre-discriminating formula provided meaningful categorizations of 23 add

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Hayes, Rebecca A., Julia Crouse Waddell, and Peter M. Smudde. "Our thoughts and prayers are with the victims: Explicating the public tragedy as a public relations challenge." Public Relations Inquiry 6, no. 3 (2017): 253–74. http://dx.doi.org/10.1177/2046147x16682987.

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A tragedy is substantively different than an organizational crisis. Tragedies, whether man-made or natural disasters, have a considerably greater and singular impact than a traditional industry crisis, and current typologies of crises fail to account for organizations being impacted by and being obligated to respond to events of which they are neither the victim nor the perpetrator. Thus, tragedies require explication and, possibly, a different paradigm for public relations and crisis communication, both in industry response and academic scholarship. The goals of this article are threefold: Fi

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Laraib, Maryam, and Bin Zubair Hassan. "Shakespearean Tragedies and Inconsistencies of the Renaissance ERA." International Journal of Arts and Social Science 05, no. 11 (2023): 69–78. https://doi.org/10.5281/zenodo.7758626.

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This research explores the elements of tragedy in selected Shakespearean dramas. The Greek philosopher Aristotle investigated and defined tragedy’s nature, while the dramatists of ancient Greece cemented its characteristics and qualities. Shakespeare defied the established conventions by classics to get closer to reality. The theories presented by Irving Ribner and A. C. Bradley support this study. Three key points of view that define Shakespeare as a dramatist show his concept of tragedy: the tragic hero, the tragic action (or plot), and catharsis, which this essay tries to explain. Thi

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Krasavchenko, Tatiana N. "Shakespearean Tradition in the Contemporary British Novel: Ian MсEwan". Studia Litterarum 9, № 3 (2024): 198–215. http://dx.doi.org/10.22455/2500-4247-2024-9-3-198-215.

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Ian McEwan (born 1948), one of the most outstanding contemporary British writers, is brought to the literary forefront thanks to the current social, ethical issues and aesthetic virtues of his works and belonging to the New Time British Gothic tradition whose foundations were laid by Shakespeare and his younger contemporaries (John Webster, John Ford, et al.). One finds basic topoi of literary Gothic in their tragedies: horror as an inescapable component of human existence; evil and villains who violate the moral norm in society; castle as a setting; fatal secret; supernatural element; motives

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Swoboda, Sören. "Tragic Elements in Josephus." Journal of Ancient Judaism 8, no. 2 (2017): 257–70. http://dx.doi.org/10.30965/21967954-00802009.

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While the discussion on how to classify Josephus’ works within ancient historiography is not new and attention is increasingly being paid to the genre of “tragic history,” more recently there have been attempts to draw parallels between the Jewish War and Greek tragedy (e. g., Chapman and Feldman). Following a sociological definition of “Hellenism,” my paper argues not only that optimal conditions existed in Flavian Rome after 70 C. E. for Josephus to use in his account of the Jewish War certain elements of tragedy and that at least in reference to some aspects a bridge can be constructed from

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Gámez Millán, Sebastián. "¿Qué hubiera sido de Edipo sin Aristóteles y sin Freud?" Laocoonte. Revista de Estética y Teoría de las Artes, no. 4 (December 12, 2017): 93. http://dx.doi.org/10.7203/laocoonte.0.4.11064.

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Edipo rey, de Sófocles, no se hubiera convertido en una tragedia “modélica” si no hubiera gozado de una amplia y reconocida recepción, sobre todo, por parte dos de sus intérpretes más decisivos e influyentes: Aristóteles y Freud. En este artículo analizamos los principales argumentos que ofrece Aristóteles en la Poética: a) la forma más apropiada de reconocimiento; b) el uso del coro; c) la argumentación verosímil; d) la concentración necesaria. Freud descubre en esta tragedia una estructura antropológica del deseo inconsciente de los seres humanos. Por último, expondremos los argumentos filos

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Zimmermann, Bernhard. "Ein dionysischer Oidipus." Poetica 55, no. 1-2 (2024): 118–35. http://dx.doi.org/10.30965/25890530-05512006.

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Abstract Rudolf Pannwitz (27 May 1881–23 March 1969) is an almost forgotten 20th century author. The Dionysian Tragedies (Dionysische Tragödien), published in 1913, refers in its title to the inspiration for the five plays: Nietzsche’s Birth of Tragedy (Geburt der Tragödie, 1872). Among the Dionysian tragedies, The Liberation of Oedipus. A dionysian picture (Die Befreiung des Oidipus. Ein dionysisches Bild) has the most points of contact with Nietzsche’s work. Against the background of the ancient discussion of the Dionysian and the dithyrambic and Nietzsche’s Birth of Tragedy, the article int

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Kholidah, Umi. "KARAKTERISTIK ANALISIS WACANA KRITIS DALAM WACANA BERITA “PUTRA RAJA DIDUGA BIANG TRAGEDI: ARAB SAUDI MENYEBUT JAMAAH TIDAK PATUH ATURAN HAJI”." JURNAL PESONA 8, no. 1 (2022): 106–14. http://dx.doi.org/10.52657/jp.v8i1.1653.

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Abstrak Karakteristik dalam Analisis Wacana Kritis (AWK) meliputi tindakan, konteks, historis, kekuasaan, dan ideologi. Bila dilihat dari pemberitaan kasus tragedi Mina dapat dianalisis menurut kelima karakteristik tersebut. Tujuan penelitian ini adalah mendeskripsikan karakteristik analisis wacana kritis dalam wacana berita “Putra Raja Diduga Biang Tragedi: Arab Saudi Menyebut Jamaah Tidak Patuh Aturan Haji”. Data dikumpulkan menggunakan (a) metode simak bebas libat cakap, (b) catat, (c) wawancara, (d) studi pustaka, dan (e) dokumentasi. Hasil penelitian yang ditemukan berdasarkan kelim

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Mayne, Emily. "Presenting Seneca in Print: Elizabethan Translations and Thomas Newton’s Seneca His Tenne Tragedies." Review of English Studies 70, no. 297 (2019): 823–46. http://dx.doi.org/10.1093/res/hgz022.

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Abstract Seneca His Tenne Tragedies (1581) was the first printed collection of Seneca’s tragedies in English. This article re-examines this publication in the context of early modern production of collected unannotated editions of Seneca’s tragedies on the European mainland, and of the editorial and intellectual interests of its compiler, Thomas Newton. It identifies Newton as something of an early modern ‘print professional’, who was involved in the production of a wide variety of texts, translations, and commendatory poetry, and who used a variety of sophisticated strategies in print to draw

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Ellodi, Denise. "Reflections on the Neoclassical Dispositions of a Banned Playwright." ENDLESS: INTERNATIONAL JOURNAL OF FUTURE STUDIES 8, no. 1 (2025): 10–15. https://doi.org/10.54783/endlessjournal.v8i1.318.

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The literary work of Albanian playwright Etëhem Haxhiademi had been banned for over four decades due to vindictive political principles. He was one of the most notable creators of Albanian tragedy, revealing Albanian literature in the modern era. In 1924, he wrote the tragedy "Ulysses" in Berlin, in 1926 he wrote the tragedy "Achilles" in Vienna, and in 1928 he wrote the tragedy "Alexander" in Lushnje, Albania. All three tragedies were published in Tirana, Albania, in 1931. Later, he wrote and published the tragedies "Pyrrhus" (1934), "Scanderbeg" "Skënderbeu" (1935), "Diomedes" (1936), and "A

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Dikmonienė, Jovita. "Romėnų teatras ir Senekos tragedijos: Pamišęs Herkulis, Edipas." Literatūra 51, no. 3 (2009): 47. http://dx.doi.org/10.15388/litera.2009.3.7756.

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Praeitų metų Literatūros numeryje rašėme apie dvi Senekos tragedijas: Tiestą ir Medė- ją1. Jos pagal Aristotelio antikinių tragedijų klasifikaciją priklauso tragedijoms, kuriose pagrindinis herojus sąmoningai siekia keršyti, nuolat dega pykčiu, o padaręs nusikaltimą, nepajunta kaltės. Šiame straipsnyje analizuosime dvi antrojo tipo tragedijas: Pamišęs Herkulis ir Edipas. Čia pagrindiniai herojai pražudo savo artimuosius netyčia, jų nusikaltimas yra klaida, kuri Aristotelio Poetikoje vadinama ἁμαρτία2, Senekos tragedijose – error3. Po atpažinimo herojai jaučia didžiulę gėdą (pudor) bei kaltę (s

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Taminiaux, Jacques. "El legado de Platón en las interpretaciones filosóficas alemanas de la tragedia griega." Areté 9, no. 1 (1997): 127–42. http://dx.doi.org/10.18800/arete.199701.006.

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El tema que desarrollaré está basado en una observación estrictamente histórica: repetidas veces los más grandes filósofos alemanes han tratado a las tragedias griegas como si éstas fueran documentos metafísicos. En Schelling, Hegel, Schopenhauer, Nietzsche y Heidegger, la tragedia es interpretada como si fuera, de una manerao de otra, una introducción a la metafísica: como si fuera una expresión de la esencia y del fundamento del ser como un todo. A pesar de lo diferentes que puedan ser sus interpretaciones de la esencia y del fundamento - identidad entre libertad y necesidad, espíritu absolu

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Sukiman, Sukiman, Anang Santoso, and Febri Taufiqurrahman. "Sistem Transitivitas dalam Wacana Berita Tragedi Kanjuruhan Malang." Stilistika: Jurnal Pendidikan Bahasa dan Sastra 16, no. 2 (2023): 215. http://dx.doi.org/10.30651/st.v16i2.16184.

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Transitivity System in The Kanjuruhan Malang Tragedy News Discourse ABSTRAKMedia massa menyajikan informasi dari sudut pandang penulis, sehingga cenderung menimbulkan persepsi yang berbeda dari pembaca. Maka, penelitian ini bertujuan untuk mengkaji bentuk ketransitifan dalam wacana berita Tragedi Kanjuruhan dari tiga media massa online. Metode yang digunakan, yaitu kualitatif dengan pendekatan analisis wacana tentang ketransitifan dari Halliday. Data penelitian ini bersumber dari tiga media massa, yaitu Kompas, Detiknews, dan Tempo. Analisis data menggunakan model ketransitifan dari teori Ling

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Silindir Keretli, Gülten. "Tragedy of Jane Shore Pathetic Heroine in Distress by Nicholas Rowe." Asia Minor Studies 12, no. 2 (2024): 180–89. http://dx.doi.org/10.17067/asm.1491299.

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Elizabeth Howe'un belirttiği gibi, 1680'lerin ortalarında "kadınların çektiği acılar trajedinin tüm konusu haline gelmiştir" (1992: 122). Otway ve Banks'in oyunlarında yerleşen dramatik gösteri olarak kadın ıstırabı modeli, yüzyılın sonuna ve on sekizinci yüzyılın başlarına kadar devam edecekti. 1680'lerin sonları ve 1690'ların başlarındaki tragedya kıtlığından sonra, 1690'ların ortalarında Elizabeth Barry ve Thomas Betterton gibi tragedya yazarlarının iyi oyunculuklarının da yardımıyla ciddi drama yeniden canlanmıştır. Tragedyaya olan ilginin yeniden artması Londra'nın yeniden iki tiyatro sal

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Sala Valldaura, Josep María. "La «Ifigenia» y la tragedia en el siglo XVIII." Cuadernos de Estudios del Siglo XVIII, no. 20 (October 4, 2017): 129–54. http://dx.doi.org/10.17811/cesxviii.20.2010.129-154.

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Este trabajo sitúa Ifigenia, traducción de Jovellanos de la tragediaIphigénie de Jean Racine, en el marco cultural y político en que fue realizada. Se analiza la posible interpretación que Jovellanos hizo del original francés a partir de la traducción y del contexto históricoliterario. Se compara Ifigenia con Munuza y El delincuente honrado y con otras tragedias y versiones coetáneas.PALABRAS CLAVE: Neoclasicismo, Tragedia, Jovellanos, Racine, Ifigenia.

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Susanto, Dwi. "NARASI SEJARAH KAUM EKSIL 1965 DALAM NOVEL PULANG (2012) KARYA LEILA S. CHUDORI: KAJIAN SOSIOLOGI SASTRA (Narrative History of Exiled 1965 in Pulang (2012) by Leila S. Chudori: A Study of Literature Sosiology)." Kandai 19, no. 2 (2023): 295. http://dx.doi.org/10.26499/jk.v19i2.5145.

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The novel Pulang (2012) by Leila S. Chudori presents the narrative of the victims of the 1965 tragedy. The historical facts presented the mentality of the author who presents the struggles of the exiles as a result of the 1965 tragedy. This paper aims to trace the historical narrative of the victims of the 1965 tragedy, as exiles. political. This paper used a sociological point of view, as expressed by Georg Lukacs. The object of this research is the text Pulang (2012) by Leila S. Chudori and the historical narrative in the text. The kind of data used by researcher are subjective historical na

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de Jong, Irene J. F. "HOMER: THE FIRST TRAGEDIAN." Greece and Rome 63, no. 2 (2016): 149–62. http://dx.doi.org/10.1017/s0017383516000036.

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It is a commonplace to link Homer with tragedy. Plato calls Homer the first tragedian, Aristotle praises the dramatic concentration of his plots, and pseudo-Plutarch claims that in Homer we find ‘all elements of tragedy: great and unexpected deeds, epiphanies of gods, and speeches full of thought and representing all kind of characters’. Likewise, modern critics write studies onNature and Culture in the Iliad. The Tragedy of Hector, ‘Tragic Form and Feeling in theIliad’, ‘Homeric Epic and the Tragic Moment’, andHomer and the Dual Mode of the Tragic.

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Lourou Terzaki, Konstantina Melina. "Dog-like Madness in Tragedy and the Early Cynics." Athens Journal of Philosophy 2, no. 2 (2023): 119–38. http://dx.doi.org/10.30958/ajphil.2-2-4.

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The distinction between being a dog (metaphorically) and being mad in ancient Greek philosophy- focusing on Diogenes the Cynic- and tragedy. It is with regards to ancient philosophy and tragedy because the former dogginess is aware of itself in that there is a theory behind it and aims at the good life, whereas the latter, I argue, is destructive and closer to madness. Keywords: Tragedies, Early Cynicism, dogs, madness, metaphor

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Mazur, Piotr Stanislaw. "Human Drama in Aristotle’s Poetics." Roczniki Humanistyczne 68, no. 3 (2020): 57–69. http://dx.doi.org/10.18290/rh20683-4.

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Ludzki dramat w Poetyce Arystotelesa Celem artykułu jest ukazanie dramatu jako wydarzenia ludzkiego w Poetyce Arystotelesa. Zdaniem autora, odwrócenie mechanizmu naśladownictwa (mimesis), używanego przez Arystotelesa do tworzenia tragedii, pozwala potraktować Poetykę przede wszystkim jako nośnik wiedzy o dramacie człowieka jako bohatera tragedii. Uczucia litości i trwogi, których powinna dostarczyć tragedia, ujawniają, co jest dramatem człowieka, a zarazem co sprawia, że człowiek może doświadczyć dramatu. Dramat ten wynika nie tylko z siły i nieuchronności zła, na które natrafia człowiek

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Putra, Ario, and Achmad Fatturohman. "Tragedi Intelektualualitas Islam Dalam Perspektif Filsafat Politik-Keagamaan ( Diskusi Kasus Nakbah Ibnu Rusyd dan Pembunuhan Faraq Fouda)." JURNAL AL-AQIDAH 13, no. 1 (2021): 15–33. http://dx.doi.org/10.15548/ja.v13i1.2633.

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The differences that occur sometimes often lead to violence and even end in murder. Islam as a religion that is rahmatan lil 'alamin highly upholds human values, tolerance, and differences. Therefore, Muslims should understand them as fundamental religious values contained in the Qur'an and Sunnah, in order to form a good and peaceful life order. The method used in this research is descriptive-explorative. This research is a library research (Library Research), while the data collection method in this research is by classifying the data related to the research focus, then analyzing it. The fin

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USMONOVA, Ro‘zixon. "“HAMLET” TRAGEDIYASINI DEBAT USULIDA O‘RGANISH." UzMU xabarlari 1, no. 1.5.1 (2024): 227–29. https://doi.org/10.69617/nuuz.v1i1.5.1.4857.

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Jahon adabiyotshunosligida buyuk dramaturg Uilyam Shekspirning “Hamlet” tragediyasi yuzasidan bildirilayotgan fikr-mulohazalar, obrazlarni baholashdagi ziddiyatlar ta’lim bosqichlarida mazkur asarni o‘rganish va tahlil qilishda qator muammolarni yuzaga keltiradi.Maqolada oliy ta’lim tizimida tragediyani o‘qitish, talabalarning mustaqil fikrlashga bo‘lgan ishtiyoqini rag‘batlantirishda debat darslarini tashkil etish texnologiyasi va uning ahamiyati haqida so‘z boradi

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Sánchez i Bernet, Andrea. "El movimiento del coro dionisíaco desde el ditirambo fr. 70b de Píndaro hasta la tragedia de Sófocles." Synthesis 32, no. 1 (2025): e153. https://doi.org/10.24215/1851779xe153.

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Este trabajo analiza la representación del séquito de Dioniso en tres tragedias de Sófocles –Antígona 1115-1154, Edipo rey 209-215 y Edipo en Colono 668-693– y en el ditirambo 70b de Píndaro. La recurrencia de ciertos elementos rituales ausentes en otras fuentes y, sobre todo, la coincidente transformación del séquito de una procesión a un coro sugieren que la tragedia sofoclea parta de elementos típicos del ditirambo.

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