La tragédie française

Forestier, Georges

doi:10.3917/arco.fores.2016.01

Cited by 4 publications

(1 citation statement)

References 0 publications

Supporting

Mentioning

Contrasting

Order By: Relevance

“…Likewise, scholars have pointed to the importance of Sophonisbe in the development of French tragedy to the so‐called ‘death’ of tragedy in the 1640s before the ‘birth’ of neo‐classical tragedy (Chadwick, 1955, 176–179; Delmas, 2002, 57–80). On the notion of a ‘death’ and ‘rebirth’ of classical tragedy, see also: Adam ([1948] 1962, 451); Forestier (2016, 13).…”

mentioning

confidence: 99%

What is a protagonist?

Larn

Kristensen-McLachlan

2023

Orbis Litterarum

View full text Add to dashboard Cite

Early modern French dramas c.1550–1660 stage a multitude of female figures. Two of the most popular were the Greek‐Egyptian ruler Cleopatra and the Carthaginian noblewoman Sophonisbe who all in all appear in no less than 13 French tragedies from this period including some of the period's most important ones. In this article we undertake the first comparative and structural investigation of both figures' importance within the corpus by combining computationally assisted social network analysis and traditional close reading. By defining importance quantitatively based on four centrality measurements, we substantiate recent scholarship's highlighting of early modern dramatists' gendered interest and question traditional scholarly notions of protagonism.

show abstract

mentioning

confidence: 99%

What is a protagonist?

Larn

Kristensen-McLachlan

2023

Orbis Litterarum

View full text Add to dashboard Cite

show abstract

Management as Dramatic Events

de Vaujany,

Riot

2023

Organization as Time

View full text Add to dashboard Cite

Catharsis : tentative de légitimer la fiction théâtrale au XVIIe siècle en France

Šuman¹

2018

Auc Philologica

View full text Add to dashboard Cite

The article deals with French views on tragic emotions and their involvement as a means of katharsis as described by Aristotle in the chapter 6 of his Poetics. Although the 17th-century French theorists and dramatists attempt to adopt Aristotle 's principles, at the same time they progressively move aside from the fearful events which are essential in Aristotle 's definition of tragic experience. Pierre Corneille openly admits that he finds it hard to acquiesce to the very speculative nature of Aristotle 's reasoning and hence he pleads for the cathartic value of "admiration". His arguments serve not only the defence of his personal conception of tragic art but, more importantly perhaps, they enable him to confound the rigorous detractors of theatrical fiction.

show abstract

La tragédie française

Cited by 4 publications

References 0 publications

What is a protagonist?

What is a protagonist?

Management as Dramatic Events

Catharsis : tentative de légitimer la fiction théâtrale au XVIIe siècle en France

Contact Info

Product

Resources

About