英国利物浦代写assignment：莎士比亚模型

2017-04-21 12:49

悲剧的莎士比亚模型，基于亚里士多德的诗学开始戏剧的经典模型，要求严厉的制裁导致的毁灭和悲剧英雄最后的死亡。在莎士比亚的悲剧中，英雄无一例外地在最后一幕中死去：奥赛罗无法在他手上杀害无辜的女人，自杀。哈姆雷特企图把他父亲的凶手绳之以法，却被一把毒剑杀死了。麦克白，有远超过了他的政治和军国主义的野心，在决斗中被斩首。李尔国王一生中经受着不幸和损失，心碎而孤独。写作在诗学、亚里士多德定义的古典悲剧，这引起了”这样的遗憾和恐惧来宣泄这种情感”。[ 4 ]的宣泄是悲剧形式的本质；观众必须在悲剧的结论感到一种情感的净化，通过公正的惩罚的神圣的社会层次重新建立通常。最后的行动，那么，救赎的行为，试图把权利的不幸和傲慢这打乱了自然的秩序。在《圣经》中，上帝与人类的关系被描绘成人类关系的层次结构：作为国王和主体，父亲和孩子，主人和仆人。因此，人类的自卑是人类与上帝关系紧张的根源。工作是在上帝和Satan之间的对抗中央的一个傀儡，他的信仰的丧失是由于神圣计划的费解。同样，莎士比亚的神性的人物，用伪装和掩饰来测试他们的受试者和朋友的忠诚，就像上帝的测试工作，雅各伯和亚伯拉罕神秘的考验。
英国利物浦代写assignment：莎士比亚模型
The Shakespearean model of tragedy, based on classical models of drama set out in Aristotle’s Poetics, demands harsh justice which results in the downfall and eventual death of the tragic hero. Without exception in Shakespeare’s tragedies, the hero must die in the final act: Othello, unable to live with the murder of an innocent women on his hands, kills himself. Hamlet, attempting to bring his father’s murderer to justice, is himself killed by a poison-laced sword. Macbeth, having far over-reached his political and militaristic ambition, is beheaded in a duel. King Lear, enduring misfortune and loss throughout his life, dies heartbroken and alone. Writing in Poetics, Aristotle defines classical tragedy as that which arouses “pity and fear in such a way as to accomplish a catharsis of such emotions”.[4] The catharsis is essential to the tragic form; the audience must feel a purge of emotions at the conclusion of the tragedy, usually accomplished by a just punishment and re-establishment of the divine and social hierarchy. The final act is, then, a redemptive act which seeks to put to rights the misfortunes and hubris which disrupted the natural order. In the Bible, the relationship between God and mankind is portrayed in a hierarchical structure of human relationships: as king and subject, father and child, master and servant. As such, the inferiority of mankind is at the root of tensions in man’s relationship to God. Job is a puppet at the centre of a confrontation between God and Satan, and his loss of faith is a result of the impenetrability of the divine plan. Likewise, Shakespeare’s divine figures use disguise and dissimulation to test the loyalty of their subjects and friends, much as God tests Job, Jacob and Abraham with enigmatic ordeals.