This document provides an overview of Raymond Williams' book "Modern Tragedy" and discusses various thinkers' contributions to the idea of tragedy. It summarizes Williams' analysis of how the concept of tragedy has changed over time from the ancient Greeks to modern era. Key points discussed include Lessing's rejection of neoclassicism and advocacy for bourgeois tragedy, Hegel's view of tragedy in terms of conflict and resolution, and Bertolt Brecht's rejection of tragedy through his theory of epic theater which aimed to provoke rational thought over emotional response.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Aristotle's Poetics (Greek: Περὶ ποιητικῆς, Latin: De Poetica;[1] c. 335 BCE[2]) is the earliest surviving work of dramatic theory and the first extant philosophical treatise to focus on literary theory.[3]
In it, Aristotle offers an account of what he calls "poetry" (a term which in Greek literally means "making" and in this context includes drama—comedy, tragedy, and the satyr play—as well as lyric poetry and epic poetry).
The concept of imagination in biographia literariaDayamani Surya
Samuel Taylor Coleridge in his Biographia Literature considered that the mind can be divided into two faculties called as imagination and fancy.
Imagination is further divided into two types namely Primary Imagination and Secondary Imagination.
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
Poetry, he wrote in the Preface, originates from ‘the spontaneous overflow of powerful feelings’ which is filtered through ‘emotion recollected in tranquillity’.
More Information :- https://www.topfreejobalert.com
The Waste land it’s a epic poem. A poem made of collage of images. In ‘The Waste land’ Image and symbol take in city life.
An Apology for Poetry[7] (also known as A Defence of Poesie and The Defence of Poetry) – Sidney wrote the Defence before 1583. It is generally believed that he was at least partly motivated by Stephen Gosson, a former playwright who dedicated his attack on the English stage, The School of Abuse, to Sidney in 1579, but Sidney primarily addresses more general objections to poetry, such as those of Plato. In his essay, Sidney integrates a number of classical and Italian precepts on fiction. The essence of his defence is that poetry, by combining the liveliness of history with the ethical focus of philosophy, is more effective than either history or philosophy in rousing its readers to virtue. The work also offers important comments on Edmund Spenser and the Elizabethan stage. from wikipidea
biography of s.t coleridge
introduction to biographia literaria
synopsis of chap 14
critical analysis
literary devices
objections and defence
fancy and imagination
primary and secondary imagination
This presentation is for students of English literature. This presentation contains, History(social, political and economic) and literary features of Romantic age, poets, novelists and prose writers of the age.
Romanticism Lecture by Faisal Ahmed_WEEK 1_ENG 409Faisal Ahmed
This video lecture is on the definition, characteristics and causes of Romanticism and a brief but sketchy explanation over Romantic Literature and Romantic Era in English Literature. This lecture is in Week 1 of e-learning for the course Romantic Literature- 2 (ENG 409) at World University of Bangladesh.
Faisal Ahmed
Faculty Member
Department of English
World University of Bangladesh (WUB)
Era Of Good Feelings Essay. PPT - Era of Good Feelings: 1815-1829 PowerPoint ...Bridget Zhao
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Andreas Schleicher presents at the OECD webinar ‘Digital devices in schools: detrimental distraction or secret to success?’ on 27 May 2024. The presentation was based on findings from PISA 2022 results and the webinar helped launch the PISA in Focus ‘Managing screen time: How to protect and equip students against distraction’ https://www.oecd-ilibrary.org/education/managing-screen-time_7c225af4-en and the OECD Education Policy Perspective ‘Students, digital devices and success’ can be found here - https://oe.cd/il/5yV
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The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
The Indian economy is classified into different sectors to simplify the analysis and understanding of economic activities. For Class 10, it's essential to grasp the sectors of the Indian economy, understand their characteristics, and recognize their importance. This guide will provide detailed notes on the Sectors of the Indian Economy Class 10, using specific long-tail keywords to enhance comprehension.
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Model Attribute Check Company Auto PropertyCeline George
In Odoo, the multi-company feature allows you to manage multiple companies within a single Odoo database instance. Each company can have its own configurations while still sharing common resources such as products, customers, and suppliers.
We all have good and bad thoughts from time to time and situation to situation. We are bombarded daily with spiraling thoughts(both negative and positive) creating all-consuming feel , making us difficult to manage with associated suffering. Good thoughts are like our Mob Signal (Positive thought) amidst noise(negative thought) in the atmosphere. Negative thoughts like noise outweigh positive thoughts. These thoughts often create unwanted confusion, trouble, stress and frustration in our mind as well as chaos in our physical world. Negative thoughts are also known as “distorted thinking”.
Welcome to TechSoup New Member Orientation and Q&A (May 2024).pdfTechSoup
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The French Revolution, which began in 1789, was a period of radical social and political upheaval in France. It marked the decline of absolute monarchies, the rise of secular and democratic republics, and the eventual rise of Napoleon Bonaparte. This revolutionary period is crucial in understanding the transition from feudalism to modernity in Europe.
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An EFL lesson about the current events in Palestine. It is intended to be for intermediate students who wish to increase their listening skills through a short lesson in power point.
3. Raymond William
• Important Writer
• Thinker about Culture and
Politics
• Thinker about Literature
and Drama
• Socialist and Activist.
4. Raymond William (Biography)
• Raymond William (August 31, 1921 – January 26, 1988) , United Kingdom
• Williams attended King Henry VIII Grammar School in Abergavenny, at this time, he was a
supporter of the League of Nations
• after schooling he joined Trinity College, Cambridge, where he joined the Communist Party
of Great Britain.
• Williams interrupted his education to serve in World War II.
• He was a Welsh academic, novelist, critic founders of the movement Cultural Materialism.
• His writings on politics, culture, the mass media and literature are a significant contribution.
5. Overview of Book
• Modern Tragedy, first published in 1966.
• It is a study of the ideas and ideologies which have
influenced the production and analysis of tragedy.
• In this book, Williams sees tragedy both in terms of
literary tradition and in relation to the tragedies of
modern society, of revolution and disorder, and of
individual experience.
6. Tragedy and Tradition
What is Tragedy ?
• We come to tragedy by many roads. It is
an immediate experience, a body of
literature, conflict of theory, an academic
problem.
• It is more personal and general.
• It is a particular kind of event and
particular kind of response which are
genuinely tragic and which the long
tradition embodies.
What is not Tragedy?
• Tragedy is not simply death and
suffering and it is certainly not
accident.
• Tragedy is not the death of kings.
• Nor is it simply a response to death
and suffering.
7. The Relationship of Tradition to Tragedy
• About tradition Williams explains:
It is a question, rather of realizing that a tradition is not the past; but an
interpretation of the past – a selection and evaluation of ancestors rather than
a neutral record and the present serves as a link between the traditional and the
modern.
For example: When the unique Greek culture changed, the chorus which was
the crucial element of dramatic form was discarded and the unique meaning of
tragedy was lost.
8. Tragedy in different Eras
• People think that the medieval period produced no tragedy, but Monk’s
Tale is the example of it.
• Later tragedy became more secularized in the Renaissance and
Neoclassical age.
• The moving force of tragedy was now (Recent time) quite clearly a matter
of behavior, rather than either a metaphysical condition or metaphysical
fault.
9. Gotthold Ephraim Lessing and The Tradition
• Lessing (1729-1781) was a German
critic and dramatic poet.
Lessing contribution to the idea of
tragedy:-
a) A theoretical rejection of neo-
classicism
b) A defense of Shakespeare
c) An advocacy and writing of
bourgeois tragedy
10. Gotthold Ephraim Lessing and The Tradition
(Continue)
Lessing’s views
• He said the Neoclassicism was a
false classicism and the real inherit
of the Greeks was Shakespeare and
the real inherit of Shakespeare was
the new national bourgeois (middle
class) tragedy.
Raymond William’s views
• He doesn’t agree with Lessing he
holds that Shakespeare was not the
real inherit of the Greeks; rather he
was a major instance of a new kind
of tragedy.
11. Secular
Difference between Greek and Elizabethan
Drama
Greek Drama
• The only fully religious tragedy we
have is Greek
• Suffering as well as happiness as a
will of fate
Elizabethan Drama
• Elizabethan drama was totally
secular, but there was a concept of
good and evil and poetic justice.
• Suffering as a consequences of
error and happiness as a
consequences of virtue
12. Georg Wilhelm Friedrich Hegel
• Hegel (1770-1831) was a famous German
Philosopher.
Hegel contribution to the idea of tragedy:-
• He described the moral scheme of poetic
justice as a triumph (victory) of ordinary
morality.
• What is important for Hegel is not the
suffering ‘mere suffering’ but its causes.
Mere pity and fear are not tragic.
• Genuine tragedy, there must be individual
freedom and independence.
13. Hegel (Continue)
Hegel’s theory of tragedy in term of
Marxism
• Hegel’s interpretation of tragedy is
part of a general philosophy rather
than a historical criticism, it emphases
upon the conflict and its resolution but
later under the influenced of Carl
Marx the conflict of ethical forces
looked in social and historical terms.
Raymond William differentiate
modern and ancient tragedies
• First, in ancient tragedy, the characters clearly
represent the substantive(practical)ethical ends;
in modern tragedy, ends are wholly personal.
• Secondly, in ancient tragedy, there is not only
the downfall of conflicting persons and ends in
the achievement of eternal justice. An
individual may surrender under a higher
command; in modern tragedy, Reconciliation,
will often be within the character and will be
more complicated. .
14. Arthur Schopenhauer
• Schopenhauer (1788-1860) was a
German philosopher.
Schopenhauer contribution to the
idea of tragedy:-
• He secularized the idea of fate
when he said, ‘the true sense of
tragedy is the deeper insight, that is
not his own individual sins that the
hero atones for, but original sin, i.e.
the crime of existence itself’.
15. Friedrich Nietzsche
• Nietzsche (1844-1900) was a German
philosopher.
Nietzsche contribution to the idea of
tragedy:-
• Dramatizes a tension, which it resolves in a
higher unity. There the hero, the highest
manifestation(sign) of the will, is
destroyed, but the eternal life of the will
remains unaffected.
• The action of tragedy is not moral, not
purgative(cleansing), but aesthetic
(appealing).
16. Tragedy and
Contemporary Ideas a) Order and accident
b) The destruction of the hero
c) The irreparable (permanent) action and
its connections with death
d) The emphasis of evil.
Raymond William has
discussed the four things in
relation to the contemporary
(modern) ideas:-
17. Tragedy and
Contemporary Ideas a) Order and accident
b) The destruction of the hero
c) The irreparable (permanent) action and
its connections with death
d) The emphasis of evil
Raymond William has
discussed the four things in
relation to the contemporary
(modern) ideas:-
18. a) Order and Accident
Accident
• It is generally said that ‘everyday tragedies’
have not any significance but Williams
does not agree to this view. In the case of
ordinary death and suffering, when we see
mourning we have entered tragedy. But a
burnt family or a mining disaster which
leaves people without feeling are called
Accidents. The events not seen as tragic
are deep in the pattern of our own culture.
Order
• Rank was the dividing line because the
death of some people mattered more
than others but our middle class
culture rejects this. Order in tragedy is
the result of the action and we should
see this variation as an indication of
the major cultural importance of
tragedy as form of art.
19. b) The Destruction of the Hero
• The most common interpretation of tragedy is that it is an action in which
the hero is destroyed.
• In most tragedies, the story does not end with the destruction of the hero; it
follows on.
• Modern tragedy is not what happens to the hero; but what happens through
him
• When we concentrate on the hero, we are limiting our attention to the
individual.
20. c) The Irreparable Action and its Connections
with Death
• The tragic experience lies in the fact that life does not come back.
• Death gives importance and meaning to life.
• The death of an individual brings along the whole community in the form of
rituals and condolence, so, tragedy is social and collective and not individual
and personal.
• Death is universal so a man tied to it quickly claims university.
21. d) The emphasis of evil
• Man dies alone is an interpretation and not a fact because when he dies, he
affects others.
• Tragedy dramatizes evil in many particular forms: not only Christian evil but
also cultural, political and ideological.
• Good and evil are not absolute. We are good or bad in particular ways and in
particular situations; defined by pressures we at one received and can alter
and can create again.
22. The Rejection of Tragedy
• Raymond William reject the tragedy in modern age with special reference to
Bertolt Brechet who made tragedy more experiential and rational.
23. Bertolt Brecht (1898-1956)
• Bertolt was a German theatre practitioner,
playwright, and poet.
• He best known for his contribution to
Epic theatre that was a theatrical
movement.
• Brecht’s work and ideas about theatre are
generally thought of as belonging to
modernism.
• There is recent thought that he is the
forerunner of contemporary postmodern
theatre practice.
24. Epic Theatre
Theatre
• Theatre is the performing arts
concerned with acting out stories in
front of an audience using
combinations of speech, gesture,
mime, music, dance, sound and
spectacle, indeed any one or more
elements.
Why Theatre
• Brecht believed that the theatre’s broadest
function was to educate.
• He created an influential theory of theatre, the
epic theatre, wherein a play should not cause the
spectator to emotionally identify with the action
before him or her, but should instead provoke
rational self-reflection and a critical view of the
actions on the stage.
• He described plays as “a collective political
meeting”
25. Bertolt’s Techniques for Epic Theater
a) Estrangement Effect
• This techniques included the direct address
by actors to the audience, transposition of
text to third person or past tense, speaking
the stage direction out loud, exaggerated,
unnatural stage lighting, the use of song,
and explanatory placards.
• The purpose of these techniques that
remind the spectator that the play is a
representation of reality and not reality
itself.
b) Historicisation
• The content of plays dealt with fictional
telling of historical figures or events.
• The purpose of this technique was after
viewing these historical stories from a
critical perspective, the contemporary
issues that was addressing would be
illuminated to the audience.