CONTENT
INTRODUCTION
CHAPTER I. SOCIAL A CULTURAL CONTEXT IN THEFIRST HALF OF THE TWENTY CENTURE AS A BACKGROUND FOR A NEW TRAGIC HERO
1.1Social and litery theories explaning place of the human being
1.2The last generation as a new representatives of the tragic hero
CONCLUSION
CHAPTERII. THE TRAGIC HEROES OF ARTHUR MILLER BOOKS
2.1The image of tragic hero in the works of Arthur Miller
2.2 E.Heminqway's "Fiesta" as a new approach to the tragic hero
2.3The tragic hero as representation problem in the works E. Heminqway and ArthurMiller
CONCLUSION
GENERALCONCLUSION
BIBLIOGRAPHY
INTRODUCTION
Our work is devoted to the analysis of the novels by Arthur Millerand E. Heminqway. The plots of there novel generally revolve around the subjectof tragedy of the main heroes and lay emphasis especially on its tremendousimportance.
The aim of our work is to reveal the tragedy of people in thenovels by A. Miller and E. Heminqway.
The hypothesis of our work is that the writers in their booksrepresent the tragic hero.
Theaim has defined the next tasks:
- to research the Socialand litery theories explaning place of the human being;
- to investigate the lastgeneration as a new representatives of the tragic hero;
- to investigate the image of tragic heroin the works of Arthur Miller and E. Heminqway's "Fiesta" as a new approach tothe tragic hero;
- to research the tragic hero asrepresentation problem in the works E. Heminqway and Arthur Miller.
Object of research in the given work is A.Miller and E. Heminqway.
Subject is the tragedy of the main heroes in A. Miller and E. Heminqway.
The practical value is that it can be useful for anybody who isinterested in life and work of the novels by A. Miller and E. Heminqway.
Whilemaking our research we used the works of such linguists as Vinokur GO,Suvorov S.P., Arnold I.V. and many others. During our work we used the works onthe translation theory of such linguists as Levitskaya TR, Fiterman AM,Komissarov VN, Alimov VV, Shveytser AD, Garbovskiy NK, Dmitrieva LF,Galperin IR, Arnold IV, Yakusheva IV, van Deik, Kolshanskiy and others.We used also the articles from the the periodical editions.
Concerningthe aim and the tasks we have used such method as a descriptive one, the methodof the experience, the contextual method and the comparative method. Thesemethods weren't used as the isolated methods, they were used in their complexto satisfy the aim and the task in the best way.
CHAPTER I. SOCIAL ACULTURAL CONTEXT IN THE FIRST HALF OF THE TWENTY CENTURE AS A BACKGROUND FORENEW TRAGIC HERO
1.1. Social and litery theories explaning place of the human being
The term 'Tragedy' is used in a common parlance, and yet it cannotbe reduced to a formula, for it has so many shades that it actually defies alogical analysis. An American critic has admirable summed up Tragedy in a fewwords: "Courage and inevitable defeat." Now-a-days we can never think of aTragedy without an unhappy ending. But the Greeks did. Philoctetes bySophocles, for example, has no unhappy ending. There is a similarity betweenthe ancient Greek Tragedy and a modern Tragedy. The hero and certain othercharacters are caught in a difficult situation.
Tragedy is a form of art based on human suffering that offers its audiencepleasure. While most cultures have developed forms that provoke thisparadoxical response, tragedy refers to a specific tradition of drama that hasplayed a unique and important role historically in the self-definition of Westerncivilization. That tradition has been multiple and discontinuous, yet the termhas often been used to invoke a powerful effect of cultural identity andhistorical continuity "the Greeks and the Elizabethans, in one culturalform; Hellenes and Christians, in a common activity, "as Raymond Williamsputs it. [3] From its obscure origins in the theatres of Athens 2500 years ago,from which there survives only a fraction of the work of Aeschylus, Sophoclesand Euripides, through its singular articulations in the works of Shakespeare, Lopede Vega, Racine, or Schiller, to the more recent naturalistic tragedy of Strindberg,Beckett's modernist meditations on death, loss and suffering, or MГјller's postmodernistreworkings of the tragic canon, tragedy has remained an important site ofcultural experimentation, negotiation, struggle, and change. [4] A long line of philosophers - whichincludes Plato, Aristotle, Saint Augustine, Voltaire, Hume, Diderot, Hegel, Schopenhauer,Kierkegaard, Nietzsche, Freud, Benjamin and Deleuze - have analysed, speculatedupon and criticised the tragic form. [5] In the wake of Aristotle's Poetics (335BCE), tragedy has been used to make genre distinctions, whether at the scale ofpoetry in general, where the tragic divides against epic and lyric, or at thescale of the drama, where tragedy is opposed to comedy. In the modern era,tragedy has also been defined against drama, melodrama, the tragicomic and epictheatre. The character and plot in most of Tragedies arelinked up. In Greek Tragedies fate played a very important part, but after theRenaissance character became more and more prominent. In some of ShakespearianTragedies, despite the importance of character, the motivation of action comesfrom the supernatural forces or even external circumstances. In modernTragedies, the hero is often the victim of social forces.
The origins of tragedy are obscure, but the art form certainlydeveloped out of the poetic and religious traditions of ancient Greece. Itsroots may be traced more specifically to the chants and dances called dithyrambs,which honoured the Greek god Dionysus (later known to the Romans as Bacchus).These drunken, ecstatic performances were said to have been created by the satyrs,half-goat beings who surrounded Dionysus in his revelry.
Phrynichus, son of Polyphradmon and pupil of Thespis, was one ofthe earliest of the Greek tragedians. "The honour of introducing Tragedyin its later acceptation was reserved for a scholar of Thespis in 511 BCE,Polyphradmon's son, Phrynichus; he dropped the light and ludicrous cast of theoriginal drama and dismissing Bacchus and the Satyrs formed his plays from themore grave and elevated events recorded in mythology and history of hiscountry ", and some of the ancients regarded him as the real founder oftragedy. [7] He gained his first poetical victory in 511 BCE. However, P.W.Buckham asserts (quoting August Wilhelm von Schlegel) that Aeschylus was theinventor of tragedy. "Aeschylus is to be considered as the creator ofTragedy: in full panoply she sprung from his head, like Pallas from the head ofJupiter. He clad her with dignity, and gave her an appropriate stage; he wasthe inventor of scenic pomp, and not only instructed the chorus in singing anddancing, but appeared himself as an actor. He was the first that expanded thedialogue, and set limits to the lyrical part of tragedy, which, however, stilloccupies too much space in his pieces. Aristotle is very clear in his Poeticsthat tragedy proceeded from the authors of the Dithyramb. [9] There is somedissent to the dithyrambic origins of tragedy mostly based in the differencesbetween the shapes of their choruses and styles of dancing. A common descentfrom pre-Hellenic fertility and burial rites has been suggested. Nietzschediscussed the origins of Greek tragedy in his early book, The Birth of Tragedy(1872).
Aristotle defined Tragedy as "a representation ofan action, which is serious; complete in itself, and of a certain length; it isexpressed in speech made beautiful in different ways in different parts of theplay; it is acted, not narrated; and by exciting pity and fear it gives a healthyr...
