By Lourens Minnema
Can tragic perspectives of the human situation as recognized to Westerners via Greek and Shakespearean tragedy be pointed out open air eu tradition, within the Indian tradition of Hindu epic drama? In what respects can the Mahabharata epic's and the Bhagavadgita's perspectives of the human be referred to as 'tragic' within the Greek and Shakespearean senses of the word?
Tragic perspectives of the human situation are basically embedded in tales. in simple terms afterwards are those perspectives expounded in theories of tragedy and in philosophical anthropologies. Minnema identifies those embedded perspectives of human nature via discussing the ways that tragic tales bring up numerous anthropological issues-issues reminiscent of dealing with evil, affliction, struggle, dying, values, energy, sacrifice, ritual, verbal exchange, gender, honour, injustice, wisdom, destiny, freedom. each one bankruptcy represents one cluster of tragic concerns which are explored by way of their specific (Greek, English, Indian) settings ahead of being in comparison cross-culturally. after all, the underlying query is: are Indian perspectives of the human situation very diversified from Western perspectives? - See extra at: http://bloomsbury.com/us/tragic-views-of-the-human-condition-9781441151049/#sthash.s9BUIlA1.dpuf
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Additional resources for Tragic Views of the Human Condition: Cross-Cultural Comparisons between Views of Human Nature in Greek and Shakespearean Tragedy and the Mahābhārata and Bhagavadgītā
When Steiner defines pure tragedy as ‘a dramatic representation, enactment, or generation of the world view that human life is basically a state of homelessness leading to total despair’, his phrasing is essentialistic, not prototypical. His definition is based on the essential presence (or absence) of total despair in a 36 Tragic Views of the Human Condition play’s world view. Eagleton prefers to distinguish between a play’s world view and a play’s basic subjects, plot and mood. ) when one recognizes in their contents the omnipresence of tragic suffering and of horror, even if they do not embrace a tragic world view in Steiner’s sense of the word.
However, at 14, 1454a 1–9 Euripides’ Iphigenia in Tauris, a play which does not end in disaster, seems to be given preference even over Oedipus Tyrannus. 44 There is something to be said against this, however. 45 Secondly, Iphigenia in Tauris may be much Narrative aspects 23 closer to ‘melodrama’ than it is to ‘tragedy’, but this alternative would not have been a category available to Aristotle. 47 This impending destruction can evoke a long-lasting worrying effect, to the extent that the audience remains in a disturbed mood afterwards, beyond the initial cathartic relief at the end of the play.
There may be reconciliation at the mental level of accepting one’s fatal destiny, but this hardly ever implies a simultaneous reconciliation on the practical level of social conflicts. Burian maintains that there is no such thing as a typically tragic plot, but that it is nonetheless helpful to categorize the existing plot patterns according to their types of conflict. Aristotle’s tragic ‘reversal’ is a switch of actions to the contrary and not for the better. Real tragedy is about good people ending up badly.
Tragic Views of the Human Condition: Cross-Cultural Comparisons between Views of Human Nature in Greek and Shakespearean Tragedy and the Mahābhārata and Bhagavadgītā by Lourens Minnema