Journal articles: 'Tragic hero'

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Papadimitropoulos, Loukas. "Heracles as Tragic Hero." Classical World 101, no. 2 (2008): 131–38. http://dx.doi.org/10.1353/clw.2008.0015.

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Ispas, Sabina. "Updating the tragic hero epos." Acta Ethnographica Hungarica 47, no. 1-2 (July 2002): 217–22. http://dx.doi.org/10.1556/aethn.47.2002.1-2.22.

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Tanchyk, Andrew Peter. "Horace Wells as a Classic Tragic Hero or Horace Wells. Reconciliation with a Tragic Hero." Journal of Anesthesia History 7, no. 2 (June 2021): 27–31. http://dx.doi.org/10.1016/j.janh.2021.02.001.

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Viganò, Luca. "Évariste Galois, a tragic romantic hero." Journal of Science Communication 02, no. 04 (December 21, 2003): C01. http://dx.doi.org/10.22323/2.02040301.

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Adade-Yeboah, Asuamah, Edward Owusu, and Kweku Rockson. "The Metamorphosis of the Tragic Hero - The Greek Classical and Post-Classical Renaissance in Contention." International Journal of Linguistics, Literature and Translation 4, no. 7 (July 30, 2021): 208–13. http://dx.doi.org/10.32996/ijllt.2021.4.7.21.

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Just as tragic heroes and heroines have been identified with different eras and cultures, the classical ideal of the classical and post-classical Renaissance will be incomplete if the concept of tragedy is not focalized. This paper, therefore, looks at how both periods delineated their tragic heroes, based on their actions portrayed in the plots of their plays. The paper, using textual analysis, provides extracts from William Shakespeare's King Lear, as the main text to present King Lear as the post-classical tragic hero. This is juxtaposed with extracts from Sophocles’ King Oedipus, as the main text, and Euripides’ Iphigenia in Tauris, as a hero supporting text to present Oedipus as the classical hero. Whereas textual analysis shows that the delineation of the tragic hero lies in the source of the tragic situation – the concept of hamartia of the classical period, the post-classical Renaissance period portrays the tragic hero on the basis of the weakness of character.

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Morton, Anne. "Book Review: Franklin: Tragic Hero of Polar Exploration." International Journal of Maritime History 21, no. 2 (December 2009): 436–37. http://dx.doi.org/10.1177/084387140902100271.

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Weinberger, Stephen. "Austin Stoneman:The Birth of a Nation'sAmerican tragic hero." Early Popular Visual Culture 10, no. 3 (August 2012): 211–25. http://dx.doi.org/10.1080/17460654.2012.694690.

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DuBois, Page. "Toppling the Hero: Polyphony in the Tragic City." New Literary History 35, no. 1 (2004): 63–81. http://dx.doi.org/10.1353/nlh.2004.0018.

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Bobrick, Elizabeth. "Sophocles’Antigoneand the Self-Isolation of the Tragic Hero." Psychoanalytic Inquiry 35, no. 1 (January 2, 2015): 40–46. http://dx.doi.org/10.1080/07351690.2014.957128.

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Milliken, Roberta. "The Female Tragic Hero in English Renaissance Drama (review)." NWSA Journal 16, no. 3 (2004): 231–33. http://dx.doi.org/10.1353/nwsa.2004.0079.

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Donawerth, Jane. "The Female Tragic Hero in English Renaissance Drama (review)." Shakespeare Quarterly 55, no. 2 (2004): 238–39. http://dx.doi.org/10.1353/shq.2004.0061.

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HEADLAND, R. K. "Franklin: tragic hero of polar navigation - By Andrew Lambert." International Journal of Nautical Archaeology 40, no. 1 (February 2, 2011): 228–30. http://dx.doi.org/10.1111/j.1095-9270.2010.00300_21.x.

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Keenan, Siobhan. "Re-reading Shakespeare’s Richard III: Tragic Hero and Villain?" Linguaculture 2017, no. 1 (June 1, 2017): 23–34. http://dx.doi.org/10.1515/lincu-2017-0003.

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Abstract The discovery of the body of the historical Richard III under a Leicester car park in 2012 sparked fresh interest in one of England’s most controversial kings. Accused of murdering his nephews—the Princes in the Tower—Richard’s reign was cut short when he was defeated by Henry Tudor, Earl of Richmond (later Henry VII), at the Battle of Bosworth (1485). Richard was subsequently demonised in Tudor historiography, perhaps most famously by Sir Thomas More in his “History of King Richard the thirde” (printed 1557). It is to More that we owe the popular image of Richard III as a “croke backed” and “malicious” villain (More 37), an image which Shakespeare has been accused of further codifying and popularising in his Richard III. Today, the historical Richard III’s defenders argue for the king’s good qualities and achievements and blame early writers such as More and Shakespeare for demonising Richard; but, in Shakespeare’s case at least, this essay argues that the possibility of a sympathetic—and even a heroic—reading of the king is built in to his characterisation of Richard III.

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Manganelli, Kimberly Snyder. "THE TRAGIC MULATTA PLAYS THE TRAGIC MUSE." Victorian Literature and Culture 37, no. 2 (September 2009): 501–22. http://dx.doi.org/10.1017/s1060150309090317.

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Marie Lavington, the runaway octoroonslave in Charles Kingsley's little-read novelTwo Years Ago(1857), makes this declaration of independence in a letter to Tom Thurnall, the novel's hero. Though Tom helped her escape to a Canadian Quaker community, Marie has tired of the “staid and sober” (122; vol. 1, ch. 5) lifestyle of a Quakeress. She reenters the public marketplace by refashioning herself into the Italian diva, La Cordifiamma. Marie's ascent to the stage as La Cordifiamma marks the construction of a new female body in the mid-nineteenth century: the Tragic Mulatta who becomes a Tragic Muse.

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Qi, Shouhua, and Wei Zhang. "Tragic hero and hero tragedy: reimaginingOedipus the King asJingju(Peking opera) for the Chinese stage." Classical Receptions Journal 11, no. 1 (June 12, 2018): 1–22. http://dx.doi.org/10.1093/crj/cly006.

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Shukhratovna, Chorieva Shakhnoza. "Genre Attribution Of The Novel "Death Of A Hero"." American Journal of Social Science and Education Innovations 2, no. 09 (September 26, 2020): 285–89. http://dx.doi.org/10.37547/tajssei/volume02issue09-44.

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This article discusses the genre of novel “Death of a Hero” which was written by Richard Aldington. The writer called his book as a “jazz novel”, and “threnody”. The novel "Death of a Hero" can also be called a tragedy novel, which has become a tragic, satirical, lyric book about war, society and human.

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James, Jon G., Donald R. Lavash, and Colin Rickards. "Sheriff William Brady: Tragic Hero of the Lincoln County War." Western Historical Quarterly 18, no. 4 (October 1987): 473. http://dx.doi.org/10.2307/969404.

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C. S. Monaco. "Red Devil or Tragic Hero?: Osceola as Settler-Colonial Icon." American Indian Quarterly 39, no. 2 (2015): 180. http://dx.doi.org/10.5250/amerindiquar.39.2.0180.

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Petsa, Vasiliki. "The militant subject as tragic hero in Dimitris Nollas’s fiction." Journal of Greek Media & Culture 1, no. 1 (April 1, 2015): 47–61. http://dx.doi.org/10.1386/jgmc.1.1.47_1.

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Antonelli. "Landscape with a Tragic Hero: F. Scott Fitzgerald's Trimalchio." F. Scott Fitzgerald Review 13, no. 1 (2015): 55. http://dx.doi.org/10.5325/fscotfitzrevi.13.1.0055.

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CLARKE, MORGAN. "The judge as tragic hero: Judicial ethics in Lebanon's shari'a courts." American Ethnologist 39, no. 1 (February 2012): 106–21. http://dx.doi.org/10.1111/j.1548-1425.2011.01352.x.

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Šliogeris, Arvydas. "TRAGIŠKASIS HEROJUS IR LIETUVIŠKOJI JO ATMAINA (NEOLITINĖ A. MACEINOS APOLOGIJA SU PALEOLITINE TRAGIŠKOJO GESTO PROLOGIJA)." Problemos 75 (January 1, 2008): 48–64. http://dx.doi.org/10.15388/problemos.2008.0.1997.

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Šiame straipsnyje nagrinėjama tragedijos prigimtis ir tragiškojo herojaus istoriniai tipai. Tragedija suvokiama ne kaip literatūros žanras, o kaip mirtingojo egzistencinė laikysena visuotinybės ir jos ribinio varianto bei vienintelio jos duoties būdo – Kalbos atžvilgiu ir apibrėžiama kaip individo maištas prieš visuotinybę, kad ir kokiu pavidalu toji visuotinybė reikštųsi. Tvirtinama, kad autentiškiausia ir savaip vienintelė tragiškojo gesto forma yra įvykusi tik keliuose Graikijos poliuose ir iš dalies Romos respublikoje. Tik Graikija yra davusi gryniausių tragiškojo maišto pavyzdžių ir klasikinio tragiškojo herojaus archetipą – laisvą ir autonomišką individą. Nepralenkiamas tragiškojo mirtingojo pavyzdys yra Sokratas, kuriam gali prilygti tik tokios tragiškos figūros kaip Periklis, Aleksandras ir Cezaris. Krikščionybė ir vadinamoji modernybė sunaikina tragiškojo gesto galimybės sąlygas, autonomiško individo metafizinę paradigmą pakeisdama „asmens“, kaip Kalbos mašinos, taigi kaip Visuotinybės įgaliotinio, paradigma. Kalbėti apie tragediją religinio arba technologinio despotizmo sąlygomis beprasmiška. Antigraikiškieji Vakarai, lygiai kaip ir despotiškieji Rytai, neturi tragiškojo herojaus, tačiau forsuoja tragiškojo gesto ideologinį žargoną, egzistencines tragiškojo herojaus galimybės sąlygas pakeisdami kalbiniais tų sąlygų falsimuliakrais. Antrojoje straipsnio dalyje nagrinėjama Antano Maceinos, kaip religinio filosofo, figūra tragiškojo gesto kontekste. Prieinama išvada, kad Antano Maceinos figūra, nepaisant kai kurių su filosofine laikysena susijusių jo gyvenimo ir mąstymo elementų, geriausiu atveju laikytina melodramatiška. Lietuvių kultūra, palenkta religiniam despotizmui, kaip ir Vakarų Europa, neturi savo tragiškojo herojaus. Pagrindiniai žodžiai: tragiškasis herojus, visuotinybė, individualumas, maištas.A Tragic Hero and its Lithuanian Variety (A. Maceina’s Neolithic Apology with Paleolithic Prologue of Tragic Gesture)Arvydas Šliogeris SummaryThe paper deals with the origin of tragedy and with historical types of the tragic hero. Tragedy is treated not as a genre of literature but rather as an existential posture of a mortal vis-ą-vis the Universality and its marginal expression and the only way of presence, i.e. Language. Similarly, tragedy is defined as a revolt of an individual against the Universality in any possible ways of its manifestation. It is asserted that the tragic gesture, in its most authentic manifestation and to some extent a unique form, emerged only in several Greek poleis and partly in the Republic of Rome. Greeks gave the world the purest examples of tragic revolt and the archetipe of a tragic hero – a free and autonomous individual. Socrates can be Pericles, Alexander, and Cesar. Christianity and the so-called Modernity replace the metaphysical paradigm of the autonomous individual with that of a ‘person’ as a machine of Language and, consequently, as a representative of the Universality, thus destroying the very possibility of tragic gesture. It is futile to have any discussion about tragedy in the circumstances of religious and technological despotism. Though neither the anti-Greek West nor the despotic East can boast of a tragic hero, they still escalate the jargon of ideological gesture to replace the existential circumstances of the tragic hero with linguistic simulacres. In the focus of the second part of the article is Antanas Maceina as a figure of religious philosopher in the context of the tragic gesture. It is concluded that Antanas Maceina, despite some aspects of his life and thinking relatable to his philosophical posture, could be most treated only as a melodramatic figure. Like in the rest of Western Europe, in Lithuania culture is bounded by religious despotism and consequently does not possess a tragic hero of its own. Keywords: tragic hero, universality, individuality, revolt.

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Małgowska, Katarzyna. "Spectator – Hero – Tragedian. Aspects of Humanity in Ostap Ortwin’s Concept of Tragic Theatre." Annales Universitatis Mariae Curie-Sklodowska, sectio FF, Philologia 34, no. 1 (December 13, 2016): 69. http://dx.doi.org/10.17951/ff.2016.34.1.69.

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Małgowska, Katarzyna. "Spectator – Hero – Tragedian. Aspects of Humanity in Ostap Ortwin’s Concept of Tragic Theatre." Annales Universitatis Mariae Curie-Sklodowska, sectio FF, Philologia 34, no. 1 (December 12, 2016): 69. http://dx.doi.org/10.17951/ff.2016.34.69.

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Ellis, Harold. "William Barnsley Allen VC DSO MC and Bar: A Tragic Medical Hero." Journal of Medical Biography 3, no. 1 (February 1995): 59–60. http://dx.doi.org/10.1177/096777209500300113.

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Weber, Myles. "The Displaced Aristocrat as Tragic Hero in Tobias Wolff’s This Boy’s Life." Western American Literature 51, no. 3 (2016): 313–34. http://dx.doi.org/10.1353/wal.2016.0043.

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Omosule, Segun. "Aesthetics in “Oluwen” Cleansing Performance." Tattva - Journal of Philosophy 8, no. 2 (July 1, 2016): 31–48. http://dx.doi.org/10.12726/tjp.16.3.

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The paper dwells on the tragic personality, the scapegoat, whose role is tied to the redemption of the people and cleansing of the land by metaphorically sacrificing himself during “““Olofun”gbogho””. This is another act in the fertility drama and it is instrumental in the regeneration of the land. The tragic hero is central to the cleansing, fertility and other allied ceremonies. The paper attempts an examination of the functions of the scapegoat during ““Olofun”gbogho”” and situates the tragic hero within a selfless desire to redeem the land from accumulated sins. The tool of analysis is aesthetics and the paper uncovers the underlying imperatives in the performance and situates them within art and the fulfilment of the people’s desire for entertainment.

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Gohar, Saddik. "The Tragic Hero in Rattigan’s Adventure Story A Study of His Moral Decline." International Journal of English Literature and Social Sciences 2, no. 6 (2017): 52–54. http://dx.doi.org/10.24001/ijels.2.6.9.

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선, 정규. "The Type and the Distinctive Image of the Tragic Hero in Chinese Myth." Journal of Japanese Studies 46 (September 15, 2015): 213–37. http://dx.doi.org/10.18841/2015.46.09.

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Klusmeyer, Douglas B. "Death of the Statesman as Tragic Hero: Hans Morgenthau on the Vietnam War." Ethics & International Affairs 30, no. 1 (2016): 63–71. http://dx.doi.org/10.1017/s0892679415000623.

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In Scientific Man vs. Power Politics (1946), Hans Morgenthau celebrated the noble role of the statesman, whose tragic destiny entailed accepting the agonizing moral burden of committing lesser evils as the inescapable price for securing the greater good. In this elitist vision, the statesman is primarily accountable to personal conscience rather than to the poorly informed, undisciplined judgment of any democratic electorate. In focusing on the statesman's pivotal role, Morgenthau glossed over the ways the New Deal and the Second World War had transformed the institutional context within which American presidents made foreign policy. As he shifted his attention to American policy toward Vietnam in the late 1950s and the 1960s, however, his view of presidential leadership and the executive branch changed significantly. Morgenthau came to see the growth of the national security state and the unaccountable exercise of executive power as a twin threat to the foundations of republican government. His critique emphasized the pathologies of policymaking insulated within this state apparatus. He learned that one problem with the lesser-evil approach is that the moral distinctions on which it is predicated are relative and contingent in practice: that which was once proscribed from the policymaker's toolbox can readily become the prescribed instrument after the justifying precedent has been established.

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Perelshtein, Roman. "Metaphysics of cinema art." Herald of Culturology, no. 1 (2021): 57–79. http://dx.doi.org/10.31249/hoc/2021.01.03.

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The author of the article explores cinema art as a kind of worldview model, based on the tragic myth of Aristotle. The well-known doctrine of tragedy is the part of the doctrine of tragic myth. Both tragedy and drama strive for catharsis, that is, to purify and heal the soul. The discussion of drama as a spiritual teaching becomes extremely relevant in this regard. The hero of the drama (wider than a movie with a dramatic plot) goes on a journey to meet his eternal "I", and, therefore, to become himself. The hero may fail, but there is no other purpose for the journey or initiation.

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WOHL, VICTORIA. "HOW TO RECOGNIZE A HERO IN EURIPIDES' ELECTRA." Bulletin of the Institute of Classical Studies 58, no. 1 (June 1, 2015): 61–76. http://dx.doi.org/10.1111/j.2041-5370.2015.12002.x.

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Abstract Why were the heroes of Greek tragedy all elite? Why in the premier genre of democratic Athens should the action always be performed by noblemen and not by, say, a poor farmer? Euripides' Electra raises this question and dramatizes its stakes. It poses the possibility of a non-elite hero – in fact, a farmer – only to show how and why this radical premise fails to pan out. The famous recognition scene compels the audience to recognize Orestes as the play's hero based on literary allusions and theatrical conventions, and in the process to disavow the egalitarian reality the play itself has staged. Electra does not ultimately answer the question why the tragic protagonist has to be elite, but it does reveal the consequences, political and dramatic, of accepting that necessity. In so doing, it exposes both the utopian potential of tragedy and its limits, and challenges us in the audience to acknowledge our role in both.

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McCarthy, Terence. "Rehabilitating Martius: Audience Response to the Hero of “Coriolanus”." Armenian Folia Anglistika 5, no. 1-2 (6) (October 15, 2009): 233–42. http://dx.doi.org/10.46991/afa/2009.5.1-2.233.

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The commonly held opinion that Coriolanus is the most rejected among the tragic heroes of Shakespeare stems from the political situation and the conflicting approaches towards the key issues of the class conflict. The negative reaction of the Protagonists also adversely affected the popularity of the work both at the theatre and among the audience. As Rossiter mentions, the reader fails to find a single reason to like Coriolanus throughout the tragedy.The article questions Rossiter’s approach arguing that it is due to the striking expression of emotionality at the end of the work that gives rise to the seeming intolerance towards the character. The idea dominating at the end of the novel is the re-evaluation of the evidently not political but universal ideas and values that are so distinctly incorporated in the character of Martius.

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Massiha, Lale. "J GATSBY AND THE EXTERNAL AGENTS OF HIS FALL." Malaysian Journal of Languages and Linguistics (MJLL) 7, no. 1 (June 1, 2018): 28–32. http://dx.doi.org/10.24200/mjll.vol7iss1pp28-32.

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The Great Gatsby, as the icon of 20th century American Novel generated a wide range of criticism and reactions, since its publication in 1925. J Gatsby is believed to be an undeniably true American following his American dream.He strongly believes in his success by employing all the means he owns. This is the force behind Gatsby's strong but blind belief in the fantasy of his ideally sketched future. Although he achieves his dream of financial success hetragically falls. Any classic tragic fall, definitely, claims a tragic hero guilty of a tragic flaw. Psychoanalytic studies have been conducted to identify the inner causes of this fall related to the lack of family, secured social position andhis desires. This paper, however, attempts to bring the external destructive agents of this modern tragic hero into the spotlight. The opportunity to earn wealth, to construct a fake social identity and to believe that the impossible ispossible pushes him down the hill. And that is nothing more than the very American Dream itself. This includes the possibility of social mobility, connecting with the members of higher social ranks and the wealth facilitating him touse the machinery and the new inventions of the age.

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Da Costa, Lorena Lopes. "Egypt as threshold and the hero in focus in Helen by euripedes." Heródoto: Revista do Grupo de Estudos e Pesquisas sobre a Antiguidade Clássica e suas Conexões Afro-asiáticas 2, no. 1 (June 9, 2017): 282–302. http://dx.doi.org/10.31669/herodoto.v2i1.183.

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This paper analyzes how Egypt, land where Euripides develops the version of the myth narrated in Helen (412 BC), updates Scheria, island where Odysseus redifines his return narrating his adventures in the Odyssey. In order to establish the affinities with the Phaeacians' island, the tragic poet appropriates the greek view of Egypt, in which wonder and mystery are the main aspects, and incorporates odyssean elements to the plot, which enables him to recreate a story in which the hero and the war are put into question.

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Gorelova, L. E., and V. N. Shelkova. "Main directions of scientific research of medical scientists in the besieged Leningrad." Clinical Medicine (Russian Journal) 99, no. 1 (June 4, 2021): 75–80. http://dx.doi.org/10.30629/0023-2149-2021-99-1-75-80.

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Goldmann, Márta. "Joyce’s “Nameless” Hero and Hungarian Jewish Experience." Acta Universitatis Sapientiae, Philologica 12, no. 1 (October 1, 2020): 55–69. http://dx.doi.org/10.2478/ausp-2020-0005.

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Abstract The essay considers the background of James Joyce’s “nameless” hero, Leopold Bloom in Ulysses, from the point of view of his Hungarian Jewish ancestry: his family history in the Western Hungarian town of Szombathely and the Jewish history of his town. It shows how a certain reading of the “Circe” and “Cyclops” episodes of Ulysses reveals them in hindsight as anticipating the nightmarish future of the Holocaust in Eastern Europe. This reading is enabled when taking account of the strong parallels that run between the crisis of progress in human history that Ulysses addresses and the idea of history in Walter Benjamin’s Theses on the Philosophy of History of 1940. 1882, the year of Joyce’s birth, was a turning point, if not actually a new beginning, in the long history of anti-Semitic feelings in Hungary. There was a blood libel case in the town of Tiszaeszlár in Eastern Hungary that year. More widely-known and central to the story of modern anti-Semitism in Central Europe was the holding of the first International Anti-Jewish Congress in Dresden in 1882. A local politician from Szombathely, called Győző Istóczy, is linked to both of these events, Szombathely being the town from which Leopold Bloom’s family originates in Ulysses. By unfolding some of the oblique references hidden in the novel to the history of the Jews in Eastern Europe, and revealing the background of the invented Bloom (Virág) family, the essay shows what tragic fate awaited the real-life Jewish families to which they allude and what would have happened to the Joycean “nameless” hero had he remained in Szombathely.

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Akhmedova, Madinabonu. "The image of the hero in the stories of Zakhar Prilepin (on the example of the collection “Sin”)." Общество и инновации 2, no. 7/S (August 30, 2021): 157–62. http://dx.doi.org/10.47689/2181-1415-vol2-iss7/s-pp157-162.

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The article is devoted to comprehending the image of the hero in the stories of Zakhar Prilepin. With the help of typological and holistic methods of analyzing a literary work, the most important properties that characterize the “new hero” in the writer’s works established marginality, lack of clear life guidelines, and a tendency to reflection. With the “difference” of fate – the main characters in the collection “Sin”: experiencing a tragic military experience – Zakhar (“Sergeant”), who becomes the savior of his soldiers. The heroes depicted as genuine; looking for their own place in the new socio-cultural realities, the unifying link in the stories of the collection “Sin” is the names of the main characters – Zakhar.

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Robertson, Robin. "Seven Paths of the Hero in Lord of the Rings: The Path of Tragic Failure." Psychological Perspectives 52, no. 1 (February 18, 2009): 93–110. http://dx.doi.org/10.1080/00332920802662294.

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Falkenstern, Rachel. "Hegel on Sophocles’ Oedipus the King and the Moral Accountability of Ancient Tragic Heroes." Hegel Bulletin 41, no. 2 (March 5, 2018): 159–76. http://dx.doi.org/10.1017/hgl.2018.1.

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AbstractThis paper argues that Hegel’s account of subjectivity and agency as historically coined is essential to an accurate understanding of his theory of tragedy. Focusing on Sophocles’ Oedipus the King, I argue that Hegel’s historical account of agency is necessary for understanding his theory of the ancient tragic hero. Although Hegel’s theory of ancient tragedy is often described in terms of a conflict between ethical spheres embodied in two individuals, the conflict in Oedipus is between Oedipus’ deeds and his later knowledge of what has actually occurred. I show how this seemingly subjective conflict is in keeping with Hegel’s theory. Further, while Hegel sees Oedipus as wrong to take full moral accountability for the consequences of his deeds, at the same time, for Hegel, this is the right action for a tragic hero, and the very thing that renders Oedipus timelessly and tragically heroic, rather than a mere victim of fate.

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Goldberg, Stuart. "Bedside with the Symbolist Hero: Blok in Mandel'shtam's “Pust' v dushnoi komnate”." Slavic Review 63, no. 1 (2004): 26–42. http://dx.doi.org/10.2307/1520268.

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In the formation of postsymbolist poetic movements in Russia and in the development of Osip Mandel'shtam's poetics in particular, 1912 was a pivotal year. In this article, a close analysis and establishing of the subtexts and biographical context of Mandel'shtam's highly cryptic poem, “Pust’ v dushnoi komnate, gde kloch'ia seroi vaty” (1912), illuminates a key moment in the process of Mandel'shtam's overcoming of symbolism. Through a deflation of the tragic pose of Aleksandr Blok's lyric hero, Mandel'shtam frees his own poetics from the shadow of Blok's powerful and charismatic lyric voice. This diminishing of Blok is accomplished through the collision of past and present, narrative and subtext, literary myth and biographical anecdote. Mandel'shtam's struggle with Blok is both unique and illustrative of the more universal dilemma that confronted his generation as it strove to wrest itself from the suffocating “bosom“ of symbolism.

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ROMERO DE SOLÍS, Diego. "La muerte del caballero." Revista Española de Filosofía Medieval 6 (October 1, 1999): 175. http://dx.doi.org/10.21071/refime.v6i.9667.

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The idea of life is linked to the attitude towards death, in order to understand the aesthetic experience of Poema de Mio Cid and Manrique's Coplas. The symbolic horizons which grow from the Epic and the Lyric enphasize the tragic character of the hero.

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Hamilton, Emma, and Delida Sanchez. "Narrative Roles Among Contact Versus Noncontact Sexual Offenders." Sexual Abuse 31, no. 7 (April 18, 2018): 765–88. http://dx.doi.org/10.1177/1079063218769651.

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The current study explored narrative roles among individuals convicted of a sexual offense. Narrative roles in a criminal context are defined as specific personal accounts utilized by offenders to justify illegal behavior. The chosen theoretical framework recognized four primary offender roles: Revengeful Mission/Romantic Quest, Professional, Victim, and Tragic Hero. A total of 23 interviews were conducted with individuals convicted of a sexual offense ( n = 11 contact, n = 12 noncontact) to explore and compare narrative roles between contact and noncontact offenders. Interviews were conducted using a phenomenological approach and coded via Framework Analysis, a qualitative data analytic method. Findings revealed a general pattern of narrative themes among offenders, along with a tendency for contact offenders to endorse Revengeful Mission/Romantic Quest narrative roles and noncontact offenders to endorse Tragic Hero narrative roles. Findings suggest that incorporating narrative roles into conceptualization and treatment of sexual offenders may help with tailoring treatments more effectively.

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Wang, Ying. "Tragic Ending and Inversion in The Tale of Orchid Dream." NAN NÜ 13, no. 1 (2011): 111–48. http://dx.doi.org/10.1163/156852611x559358.

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AbstractThis essay examines the representation of gender conflict in the late Qing novel Lanhua meng qizhuan (The tale of orchid dream) through an analysis of the novel's responses to its two literary models: Cao Xueqin's Honglou meng (Dream of the red chamber) and Wen Kang's Ernü yingxiong zhuan (A tale of heroes and lovers, 1878). Written as an imitation of Cao Xueqin's masterpiece and a reversal of Wen Kang's novel (itself also a rewriting of Cao Xueqin's work), Lanhua meng qizhuan consciously returns to the tragic mode of representation while it re-polarizes the themes of heroism and love (or ritualized morality versus private feeling) in its portrayal of the married life of a female hero, Song Baozhu. Through the deterioration of the heroine's marriage and her death, the novel exposes the deep-seated male centeredness in Chinese society and culture. At the same time, it reveals the ideological and artistic clashes of the hero-lover model promoted by Wen Kang and undermines his effort of assimilating qing (love, feelings) into the domain of public morality. The author's effort in Lanhua meng qizhuan, while seriously tackling the social problem of gender inequality in its time, also challenged old conventions and opened new avenues in Chinese fiction.

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Scott, Julie-Ann. "Attending to the disembodied character in research on professional narratives." Narrative Inquiry 21, no. 2 (December 31, 2011): 238–57. http://dx.doi.org/10.1075/ni.21.2.04sco.

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This essay provides a rationale of how Performance Analysis and Narrative Positioning within research on Physically Disabled Professionals’ Personal Narratives can provide insight into the role of the body in the analysis of professional narratives. Through analyzing the participants’ open-ended narratives as performances in which the narrators draw upon performativities to reconcile the absurdity associated with their deemed ‘unprofessional’ bodies legitimately occupying a professional space, the author traces the emergence of embodied professional heroes in four variations: the Super Hero, Warrior Hero, Tragic Hero, and Rogue Hero, each which illuminates the importance of the body in the construction of personal narratives of professionalism. In conclusion, the author calls for attention to the potential performance of the Anti Hero across personal narratives that emerge in unmarked bodies in order to attend the underlying performativities and discourses of power within all narratives of professionalism.

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Sánchez-García, Inmaculada N. "Uneasy lies the heart that wears a badge: James Gray’s We Own the Night as a Gen-X Henriad." Sederi, no. 29 (2019): 135–60. http://dx.doi.org/10.34136/sederi.2019.6.

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This article analyses James Gray’s We Own the Night (2007) as a cinematic retelling of Shakespeare’s Henriad that presents Hal’s story not as the chivalric redemption of a national hero but as a tragic fall from happiness. Through close comparative reading of these texts, I explore how We Own the Night rewrites Hal’s story as a (post)modern tragedy which addresses the concerns of the so-called Generation X. Hal’s liminal position—caught between opposing social worlds of crime and law—presents the narrative’s major conflict, which itself echoes Jan Kott’s tragic vision of Shakespeare’s play.

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김명신. "A Study on the Zhongxiaoyonglieqinuzhuan(忠孝勇烈奇女傳)’s Tragic Female Hero." Journal of the research of chinese novels ll, no. 59 (December 2019): 75–94. http://dx.doi.org/10.17004/jrcn.2019..59.003.

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Matchie, Tom. "Ahab's Wife, orThe Star-Gazer: A Wider/Deeper View of Melville's Tragic Hero and His Times." Journal of American Culture 24, no. 1-2 (April 6, 2001): 85–91. http://dx.doi.org/10.1111/j.1542-734x.2001.tb00032.x.

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Matchie, Tom. "Ahab's Wife, orThe Star-Gazer: A Wider/Deeper View of Melville's Tragic Hero and His Times." Journal of American & Comparative Cultures 24, no. 1-2 (March 2001): 85–91. http://dx.doi.org/10.1111/j.1537-4726.2001.2401_85.x.

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Swoboda, Sören. "Tragic Elements in Josephus." Journal of Ancient Judaism 8, no. 2 (May 19, 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 Aeschylus, Euripides and Sophocles to Josephus via the Exagoge of the Jewish tragedian Ezekiel, but also that the Jewish War, among other goals, in many ways pursues the same goal as the influential theory of the Aristotelian Poetics defined for the tragedy and that was already named by Gorgias of Leontini: Pity is to be aroused by scenes that cause horror. In discussing this theory of tragedy, which is controversial in many details and must be brought into relation with other statements by Aristotle on awakening pity, this paper presents arguments for the thesis outlined above, which is based on the observation that Josephus’ horrific representation of suffering is without parallel in the context of Greco-Roman historiography, that he embeds the motif of pity in the work in various ways, and that in the proem he himself problematizes the classification of the account as historiography by justifying the pathetic elements, which ancient historians like Polybius criticized as being only suitable for the tragedy. Of critical importance in all of this is a clear distinction between tragedy and ancient drama on the one hand and pathetic and horrible elements of ancient historiographies and tragedies on the other. With reference to the key text, Ant. 7.127–129, this paper concludes that the generally accepted intentions of the Jewish War—to sketch the Jewish people as inherently noble and for the most part not to blame for the insurrection—can in some respects also to be understood against the background of the theory of tragedy, according to which pity can only result from the staging of a suffering “tragic hero.”

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Journal articles on the topic 'Tragic hero'

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