The tragic paradox
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The tragic paradox a study of Wole Soyinka and his works by Akomaye Oko

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Published by Kraft Books in Ibadan .
Written in English

Subjects:

Places:

  • Nigeria

Subjects:

  • Soyinka, Wole -- Criticism and interpretation.,
  • Nigeria -- In literature.

Book details:

Edition Notes

Includes bibliographical references (p. 107-111) and index.

StatementAkomaye Oko.
Classifications
LC ClassificationsPR9387.9.S6 Z82 1992
The Physical Object
Pagination116 p. ;
Number of Pages116
ID Numbers
Open LibraryOL1492365M
ISBN 109782081183
LC Control Number93165487
OCLC/WorldCa28246438

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  Paradox informs the narrative sequence, images, and rhetorical tactics contrived by skilled dramatists and novelists. Their literary languages depict not only a war between rivals but also simultaneous affirmation and negation voiced by a tragic : Lexington Books. Plato\'s paragon -- Milton\'s potpourri -- Shakespeare\'s paradox -- Conclusion: the truth of tragedy.\/span>\"@ en\/a> ; \u00A0\u00A0\u00A0\n schema:description\/a> \" How do an author\'s techniques establish the recurring paradox raised by the tragic genre? I have called upon the valuable arguments offered by Plato, Aristotle, Hegel, and. A fanatical drive to fulfill a traditional code of masculine conduct produces the ironic consequence of de-forming that code—the tragic paradox. Tragic literature exploits irony. In Athenian and Shakespearean tragedy, self-righteous male or female aristocrats instigate their own disgrace, shame, and guilt, an un-expected : Lexington Books.   This book offers a resolution of the paradox posed by the pleasure of tragedy by returning to its earliest articulations in archaic Greek poetry and its subsequent emergence as a philosophical problem in Plato's Republic. Socrates' claim that tragic poetry satisfies our 'hunger for tears' hearkens back to archaic conceptions of both poetry and mourning that suggest a .

  Yet another, third, approach to the paradox of horror comes from philosopher Berys Gaut. According to him, to be in awe or in pain, to suffer, can in some circumstances be sources of enjoyment. That is, the way to pleasure is pain. In this perspective, pleasure and pain are not really opposites: they may be two sides of the very same coin. Reviewed by Rosolino A. Candela | The current political climate across Western democracies, in particular the United States, has been one marked by increasing ideological polarization. Given this phenomenon, How Democracies Die is an important work of admonition against a particular tragedy of democracy. As the authors eloquently write, the 'tragic paradox of the electoral . A bit Star Trek, a bit Doctor Who and a bit fucked up, The Paradox Paradox is the sci-fi story I’ve always wanted to tell. My words will once again be brought to life by a light peppering of illustrations from my partner-in-everything, Rebecca Maughan, and we’ll have lots of silly backer tiers for you to regret buying at a later date. This chapter examines Friedrich Hölderlin's Sophocles “Notes.” Hölderlin's “Notes” to Oedipus the Tyrant and Antigone pursue two primary aims: on the one hand, they delineate the differences between ancient and modern poetry; on the other, they seek to define “the tragic” as it is manifested in Sophocles' works. The first task, in essence, goes back to the Querelle and its.

  Yet after six decades, the paradox of poverty amid plenty remains. This disturbing fact serves as the starting point for Jeff Madrick’s book “ Invisible Americans.” .   In this paper, we offer a new answer to the paradox of tragedy. We propose to explain part of the appeal of tragic art in terms of its acknowledgement of sad aspects of life. It is organized as follows: we define the problem in Sect. 1 and develop our solution in Sect. 2.   By Daniel Ferreras Savoye. The amount and variety of cultural products dedicated to the story of Christopher McCandless is nothing short of remarkable: from a highly imaginative biography (Into the Wild, ) to a major motion picture by one of Hollywood reputed bad boys, Sean Penn (Into the Wild, ), from a documentary (The Call of the Wild, ) to a book of .   The real paradox of tragedy does not involve why we are pleased with a production of Hamlet, but indeed why we seek out, why we value the experience that it provides. III. THE VALUE OF THE TRAGIC EMOTIONS Accordingly, Nietzsche's interest in tragic drama does not end with an explanation of the nature of the tragic emotions.