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What Was Tragedy?: Theory and the Early Modern Canon de Blair Hoxby

What Was Tragedy?: Theory and the Early Modern Canon

Autor Blair Hoxby
en Limba Engleză Hardback – oct 2015

În volumul What Was Tragedy?, Blair Hoxby propune o reevaluare metodologică a genului tragic, structurată pe reconstrucția unei poetici pierdute care a dominat scena europeană între 1515 și 1795. Putem afirma că rigoarea cercetării sale constă în identificarea momentului de ruptură istorică — Revoluția Franceză — după care critici precum Schelling, Hegel sau Nietzsche au impus o definiție idealistă a tragicului, centrată pe rezistența morală a eroului în fața destinului. Hoxby demonstrează cum această perspectivă modernă a dus la marginalizarea unor forme hibride, precum tragedia creștină sau opera cu final fericit, care erau perfect inteligibile pentru publicul epocii timpurii moderne.

Notăm cu interes modul în care autorul integrează istoria muzicii și practica teatrală pentru a ilumina opere de John Milton, Racine sau Mozart, oferind instrumente pentru a recupera acest repertoriu ca material viu pentru scena contemporană. Comparabil cu Tragedy de John Drakakis în rigurozitatea istorică, volumul lui Hoxby se diferențiază prin concentrarea specifică pe perioada 1500-1800 și prin refuzul de a accepta definițiile post-iluministe ca fiind universale. Această lucrare continuă preocupările autorului din Mammon’s Music și Milton in the Long Restoration, unde acesta a explorat intersecția dintre transformările economice, politice și producția literară a secolului al XVII-lea. Dacă în lucrările anterioare Hoxby analiza contextul material al operei lui Milton, aici el extinde cadrul pentru a chestiona însăși taxonomia criticii literare, oferind o perspectivă esențială pentru înțelegerea canonului pre-modern.

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Specificații

ISBN-13: 9780198749165
ISBN-10: 0198749163
Pagini: 378
Ilustrații: Numerous black-and-white halftones
Dimensiuni: 171 x 236 x 29 mm
Greutate: 0.74 kg
Editura: OUP OXFORD
Colecția OUP Oxford
Locul publicării:Oxford, United Kingdom

De ce să citești această carte

Recomandăm această carte cercetătorilor și studenților la litere sau istoria artelor care doresc să depășească clișeele criticii hegemonice despre tragedie. Cititorul câștigă o înțelegere profundă a modului în care s-au schimbat criteriile de apreciere estetică de-a lungul secolelor. Este un instrument critic necesar pentru oricine dorește să analizeze piese de teatru sau opere din perioada 1515-1795 fără a le aplica grile de lectură anacronice.

Despre autor

Blair Hoxby este un cercetător recunoscut pentru studiile sale asupra literaturii timpurii moderne și a intersecției dintre cultură, economie și estetică. În lucrări precum Mammon’s Music, el a analizat impactul revoluției comerciale asupra poeziei lui Milton, în timp ce în Milton in the Long Restoration a reevaluat poziția poetului în istoria literară. Expertiza sa vastă, care acoperă atât literatura engleză, cât și tradițiile franceze, italiene și germane, îi permite să abordeze tragedia dintr-o perspectivă transnațională și interdisciplinară, integrând istoria teatrului cu cea a muzicii și filozofiei.

Descriere

Twentieth century critics have definite ideas about tragedy. They maintain that in a true tragedy, fate must feel the resistance of the tragic hero's moral freedom before finally crushing him, thus generating our ambivalent sense of terrible waste coupled with spiritual consolation. Yet far from being a timeless truth, this account of tragedy only emerged in the wake of the French Revolution.What Was Tragedy? demonstrates that this account of the tragic, which has been hegemonic from the early nineteenth century to the present despite all the twists and turns of critical fashion in the twentieth century, obscured an earlier poetics of tragedy that evolved from 1515 to 1795. By reconstructing that poetics, Blair Hoxby makes sense of plays that are "merely pathetic, not truly tragic," of operas with happy endings, of Christian tragedies, and of other plays that advertised themselves as tragedies to early modern audiences and yet have subsequently been denied the palm of tragedy by critics. In doing so, Hoxby not only illuminates masterpieces by Shakespeare, Calderón, Corneille, Racine, Milton, and Mozart, he also revivifies a vast repertoire of tragic drama and opera that has been relegated to obscurity by critical developments since 1800. He suggests how many of these plays might be reclaimed as living works of theater. And by reconstructing a lost conception of tragedy both ancient and modern, he illuminates the hidden assumptions and peculiar blind-spots of the idealist critical tradition that runs from Schelling, Schlegel, and Hegel, through Wagner, Nietzsche, and Freud, up to modern post-structuralism.

Recenzii

What Was Tragedy? reflects recent interest in reception studies, as some of its chapters diligently consider the performance history and success of a variety of theatrical texts, some now forgotten (as is the case of Stefonio's Crispus), some relegated to a secondary position within the corpus of extremely canonical authors (as is the case of Shakespeare's Antony and Cleopatra).
Ranging from classical theory and drama to Renaissance English, Italian, and French drama (principally Racine), German romantic philosophy, and modern literary criticism, Blair Hoxby argues brilliantly and compellingly what we can now deduce was a different meaning drama held in the sixteenth and seventeenth centuries.
This is an important book, and Hoxby's call to attend to and describe what was actually performed as tragedy in the period restores vitality and variation to the canon. Ultimately, he affords us a much clearer view of the masterwork over which the period labored.
One of this year's greatest scholarly achievements ... Combining literary and intellectual history, philosophy, and formal analysis, Hoxby recovers a largely lost early modern poetics of tragedy ... What Was Tragedy? has many implications not just for how we understand tragedy in our period, but also for how we conceive of early modern selfhood, how we understand the history of emotions, and how we go about the business of literary periodization. It's a major piece of scholarship.
Hoxby exhibits a powerful disciplinary, linguistic, and chronological reach, and asks fundamental questions about secular and sacred drama, the Renaissance and the Enlightenment, and early modern and post-Romantic thought. For its combination of imaginative, omnivorous research and an argument that has already caused excited discussion here at RSA, the committee found this an extraordinary piece of work.
Hoxby (Stanford Univ.) has written an intriguing work that attempts to establish what the genre of tragedy meant before idealists such as Schelling, Schlegel, and Hegel created the definition now accepted.
Hoxby makes a very compelling case for attending more carefully to works that might answer to the name of tragedy produced in Europe between 1515 and 1795 ... Hoxbys book is a superb achievement, and treats us to nuanced and sensitive readings
In this densely learned book, Blair Hoxby sets himself the worthy and formidable task of scraping away the mores of German Idealists so that early modern tragedy might be read on its own terms ... it will be a valuable reference for years to come.
The sweep of the book is its greatest recommendation in many respects. Hoxby's deep knowledge of music and music history, world philosophy, and theatre practice provide a worthwhile and perhaps even indispensable addition to the body of work on the nature of tragedy. For the music and theatre scholar, Hoxby's work in answering his past-tense question should prove invaluable for those seeking to answer the same question in the here and now.

Notă biografică

Blair Hoxby is an Associate Professor of English at Stanford University. After graduating with an A. B. from Harvard University, he studied at Oxford University as a Rhodes Scholar. He then earned his Ph.D. from Yale University. Before coming to Stanford, he was an Associate Professor of English at Yale and an Associate Professor of History and Literature at Harvard. He is the author of Mammon's Music: Literature and Economics in the Age of Milton and numerous articles on Milton, literary and cultural responses to nascent capitalism, early modern theater, and theories of tragedy.