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    Electra

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    Seat number 45 Serrano‚ Wrenz Carlo I. In Aristotle’s Poetics‚ he described what a tragic hero is with several characteristics‚ and in the Greek Tragedy of Sophocles; Electra‚ the main protagonist really has some of these characteristics. In terms of Aristotle’s definition of a tragic hero‚ Electra is considered as a tragic hero. First

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    to explain why that is‚ it is important to understand the meaning of Greek tragedy‚ as opposed to modern tragedy. How can a hero in a Greek tragedy be defined? The most widely accepted definition of Greek tragedy was written by Aristotle in his “Poetics”‚ where he details the various characteristics that make a protagonist a hero in a Greek tragedy. Based on Aristotle’s definition‚ there are three main characteristics in “Oedipus the King”‚ among others‚ that show that Oedipus is a hero in the eyes

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    as a tragic hero‚ and tragic plot were evident throughout the play. Also‚ the feeling of catharsis at the end-which is proper of tragedy‚ was clearly identifiable. I. Fences fits into the tragic genre based on the points given by Aristotle. In Poetics‚ he defines tragedy as "the imitation of an action that is serious and also as having magnitude‚ complete in itself." • Aristotle’s idea is that the plot has a beginning middle and end and all parts follow each other in concise fashion. o In the

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    downfall.Along with a tragic hero‚ the perfect Aristotelian tragedy must equip their tragic hero with a tragic flaw. This tragic flaw that the tragic hero acquires shows the tragic hero’s‚ “weakness of character‚ some moral blindness‚ or error” (Poetics Of Aristotle).This weakness would soon lead to the downfall of the tragic hero.Soon after Victor gathers the necessary information and knowledge his tragic flaw soon begins to spiral out of control when

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    CRITICAL APPRECIATION OF DRAMA FIRST ASSIGNMENT: TRAGIC HERO DR.LAJIMAN JANOORY GROUP A SEMESTER 3 2012/2013 FARIDA HAMIMI BT MUHAMAD SAIDI D20111047721 AT06-TESL FACULTY OF LANGUAGES AND COMMUNICATIONS Questions: Aristotle in the Poetics defines the tragic hero as someone who is neither excessively evil‚ someone who is rather like ourselves‚ who falls from prosperity into adversity because of an error and/or character falling. Discuss this statement with close reference to main characters

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    Imitative Art A Comparison of the Philosophies of Plato & Aristotle And the Ultimate Beneficial Nature of the Tragic Drama By: Stephanie Cimino In the various discussions of imitative art there has been a notable disagreement between two distinguished philosophers; Plato and Aristotle. Although it was Plato who first discussed the concept of imitative art‚ it is my belief that Aristotle was justified in his praise and admiration of imitative art‚ specifically‚ the tragic drama

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    Notes

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    Tragedy in Aristotle’s Poetics a) Aristotle wrote that a tragedy must have unity of plot. What does this statement mean? By this Aristotle means that the plot must be structurally self-contained‚ with the incidents bound together by internal necessity‚ each action leading inevitably to the next with no outside intervention. According to Aristotle‚ the worst kinds of plots are “‘episodic‚’ in which the episodes or acts succeed one another without probable or necessary sequence”; the only thing

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    King Lear the Tragic Hero In his Poetics Aristotle defines Tragedy as “an imitation of an action that is serious‚ complete‚ and of a certain magnitude“(Part VI). By Aristotle’s definition‚ a Tragedy imitates human experiences and the misfortunes that can accompany them. It builds and eventually purges pity and fear in readers‚ all while teaching and entertaining. While Tragedy can often be unpleasant or intense‚ “one needs to stand by at some time to Oedipus and hold the knife of his own most terrible

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    unity of time‚ place and action. For example in RTTS‚ the story happens in one day‚ in a kitchen and there is only one plot. All in all‚ RTTS is considered a MGT because it has the characteristics of the GT described by Aristotle in the “Poetics” and‚ at the same time‚ because it is shorter than them.

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    Over the centuries theorists have tried to develop different kinds of approaches to what should and should not be in terms of literary theory and criticism. In here we will discuss three different theorists (Aristotle‚ Longinus‚ and Wordsworth) from three different theories (mimetic‚ pragmatic and expressive) and explain their rules and thoughts to what is "good" literature. Later on‚ we will apply each theorist’s theory to William Blake’s "London"‚ and whether it works well with the theory or not

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