An analysis of the literary and dramatic function of ritual within the world of Sophocles' plays, for scholars of Greek tragedy, ancient theater, and poetics.

Explores how Greek tragedy was fundamentally choral and deeply connected to the cultic and ritual contexts of its performance.

A unique look at the social and religious foundations of the tragic genre. Liebler asks whether it is possible to regard tragic heroes such as Lear and Coriolanus as `sacrificial victims of the prevailing social order'.

This book brings together the study of modern fiction, tragedy, chance, and the natural world. It will appeal to graduate students and researchers interested in British and European modernism, philosophy, science and literature, and classical reception studies. It will also interest scholars studying the novel or tragedy more generally.

This book offers a unique interpretation of tragic literature in the Western tradition, deploying the method and style of Analytic philosophy. Richard Gaskin argues that tragic literature seeks to offer moral and linguistic redress (compensation) for suffering. Moral redress involves the balancing of a protagonist’s suffering with guilt (and vice versa): Gaskin contends that, to a much greater extent than has been recognized by recent critics, traditional tragedy represents suffering as incurred by avoidable and culpable mistakes of a cognitive nature. Moral redress operates in the first instance at the level of the individual agent. Linguistic redress, by contrast, operates at a higher level of generality, namely at the level of the community: its fundamental motor is the sheer expressibility of suffering in words. Against many writers on tragedy, Gaskin argues that language is competent to express pain and suffering, and that tragic literature has that expression as one its principal purposes. The definition of tragic literature in this book is expanded to include more than stage drama: the treatment stretches from the Classical and Medieval periods through to the early twentieth century. There is a special focus on Sophocles, but Gaskin takes account of most other major tragic authors in the European tradition, including Homer, Aeschylus, Euripides, Virgil, Seneca, Chaucer, Marlowe, Shakespeare, Corneille, Racine, Lessing, Goethe, Schiller, Kleist, Büchner, Ibsen, Hardy, Kafka, and Mann; lesser-known areas, such as Renaissance neo-Latin tragedy, are also covered. Among theorists of tragedy, Gaskin concentrates on Aristotle and Bradley; but the contributions of numerous contemporary commentators are also assessed. Tragedy and Redress in Western Literature: A Philosophical Perspective offers a new and genuinely interdisciplinary perspective on tragedy that will be of considerable interest both to philosophers of literature and to literary critics.

Here is presented a new theory of the origins of tragedy, based on its perceived kinship with mourning ritual. Mourners and tragic protagonists alike journey through dangerous transitional states, confront the uncanny, express themselves in antithetical style, and, above all, enact their ambivalence toward their beloved dead. Elements common to both tragedy and mourning ritual are first identified in actual Chinese, African, and Greek funerary rites and then analyzed in tragedies by Aeschylus, Sophocles, Shakespeare, Racine, Ibsen, O'Neill, Miller, Beckett, and Ionesco. Included is a firsthand account of exploration of the tragedy-mourning link in the rehearsal process of the great experimental theater director, Joseph Chaikin. Opening her first chapter, Dr. Cole says, "The grave is the birthplace of tragic drama and ghosts are its procreators. For tragedy is the performance of ambivalence which ghosts emblematize: what we fear in particular--the revenant, the ghost returning to haunt us--is also what we desire--the extending of life beyond the moment of death."