Michelle Gellrich engages current debates about the relationship between literature and theory by analyzing responses of theorists in the Western tradition to tragic conflict. Isolating the centrality of conflict in twentieth-century definitions of tragedy, Professor Gellrich discusses the efforts of modern critics to locate in Aristotle's Poetics the origins of this focus on agon. Through a study of ethical and political ideas formative of the Poetics, she demonstrates why Aristotle and his Renaissance and Neoclassical beneficiaries exclude conflict from their accounts of tragedy. The agonistic element, the book argues, first emerges in dramatic criticism in nineteenth-century Romantic theories of the sublime and, more influentially, in Hegel's lectures on drama and history.
This turning point in the history of speculation about tragedy is examined with attention to a dynamic between the systematic aims of theory and the subversive conflicts of tragic plays. In readings of various Classical and Renaissance dramatists, Professor Gellrich reveals that strife in tragedy undermines expectations of coherence, closure, and moral stability, on which theory bases its principles of dramatic order. From Aristotle to Hegel, the philosophical interest in securing these principles determines attitudes toward conflict.
Originally published in 1988.
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