… effecting catharsis
ii. The language is pleasurable and appropriate
iii. The chief characters are noble
iv. The plot involves a change in the protagonist’s fortune
v. The fall is a result of the hero’s criminal action
vi. The plot has organic unity—events follow because of one another
… completes the tragic course of the play. It is organically constructed, with each plot point following because of a previous action of the protagonists and antagonists. The protagonists act under cover of darkness in eloping and set the stage for the devil of deception to enter in. Othello falls for Iago’s ……
Bates, C. (1997) ‘Shakespeare’s Tragedies of Love’, Cambridge Companion to Shakespearean Tragedy, UK: Cambridge University Press.
Bradley, A. (1951). Shakespearean Tragedy: Lectures on Hamlet, Othello, King Lear, Macbeth. London: Macmillan.
Hallstead, R. N. (1968). Idolatrous Love: A New Approach to Othello. Shakespeare Quarterly, 19(2), 107-124.
Johnson, G. & Arp, T. (2018). Perrine’s Literature. Boston, MA: Cengage.
Kirsch, A. (1978). The Polarization of Erotic Love in ‘Othello’. The Modern Language Review, 73(4), 721-740.
Schaper, E. (1968). Aristotle's catharsis and aesthetic pleasure. The Philosophical Quarterly (1950-), 18(71), 131-143.
Shakespeare, W. (n.d.). The tragedy of Othello, Moor of Venice. Retrieved from http://shakespeare.mit.edu/othello/full.html
… 1915. The author uses his experience to develop much of Gregor Samsa’s life and demonstrate the physical metamorphosis. Prior to the metamorphosis, the protagonist’s family viewed him as a means of survival and eventually took advantage of him. Samsa’s alienation from the family and his surrounding world … man who, transformed overnight into a giant beetle like insect, becomes an object of disgrace to his family…” (p.1). After the metamorphosis, the protagonist becomes a quintessentially alienated man as he is an outsider in his own home. While Samsa is available and close to his family ……
Kafka, Frank. The Metamorphosis. Strelbytskyy Multimedia Publishing, 2019.
… focuses on deconstructing systems of power as they are represented in works of art.
In Plath’s The Bell Jar, Esther is the main protagonist and narrator of the story. She narrates her unhappiness alongside worries and fears that she knows she is supposed to be happy because ……
Alberga-Parisi, A., & Pope, B. (2018). Loss and the Perfection Crucible in The Bell Jar and The Catcher in the Rye. When Loss Gets Personal: Discussing Death through Literature in the Secondary ELA Classroom, 141.
Bell, E. (2016). Adolescence and Liminality in Carson McCullers’ Short Fiction. In Childhood through the Looking Glass (pp. 89-98). Brill.
Codina, N., & Pestana, J. V. (2019). Time Matters Differently in Leisure Experience for Men and Women: Leisure Dedication and Time Perspective. International journal of environmental research and public health, 16(14), 2513.
Effthimiou, O., & Franco, Z. (2017). Heroic intelligence: The hero\\\\\\'s journey as an evolutionary and existential blueprint. Journal of Genius and Eminence, 2(2).
Plath, S. (1996). The bell jar. New York, NY: HarperCollins.
Short, E. C., ed. (1991). Forms of curriculum inquiry. New York, NY: SUNY Press.
Tyson, L. (2006). Critical theory today: A user-friendly guide. New York, NY: Routledge.
… have sung it. In August Wilson’s 1986 play The Piano Lesson, an heirloom piano comes to embody the blues tradition for its central protagonists Boy Willie and his sister Berniece. Whether to transform the piano into money, as Boy Willie wishes to do, or to save it, ……
Wilson, August. The Piano Lesson. Turtleback Books, 1990.
… the modern woman’s struggle with self-confidence. In essence, one of the overarching theme demonstrated by Barker in allowing the reader to follow her protagonist Gillian and her interactions with Jeanie is struggle with self-confidence. Barker utilizes the G-string to demonstrate how fashion and trends could be the ……
Barker, Nicola. \\"G-string.\\" The Art of the Story: An International Anthology of Contemporary Short Stories by Daniel Halpern. New York: Penguin, 1999. Print.
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