Early modernity rediscovered tragedy in the dramas and the
theoretical writings of the ancient Greeks and Romans. Attempting
to make new tragic fictions, writers like Shakespeare, Webster,
Hardy, Corneille, and Racine created a dramatic form that would
probably have been unrecognizable to the ancient Athenians. Tragedy
and the Return of the Dead recovers a model of the tragic that fits
ancient tragedies, early modern tragedies, as well as contemporary
narratives and films no longer called "tragic" but which perpetuate
the same elements. Authoritative, wide-ranging, and thought
provoking, Tragedy and the Return of the Dead uncovers a set of
interlocking plots of family violence that stretch from Greek
antiquity up to the popular culture of today. Casting aside the
elite, idealist view that tragedy manifests the conflict between
two equal goods or the human struggle against the divine, John D.
Lyons looks closely at tragedy's staging of gory and painful
deaths, ignominious burials, and the haunting return of ghosts.
Through this adjusted lens Le Cid, Hamlet, The Spanish Tragedy,
Romeo and Juliet, Phedre, Macbeth, and other early modern works
appear in a striking new light. These works are at the center of a
panorama that stretches from Aeschylus's Agamemnon to Hitchcock's
Psycho and are placed against the background of the Gothic novel,
Freud's "uncanny," and Burke's "sublime." Lyons demonstrates how
tragedy under other names, such as "Gothic fiction" and
"thrillers," is far from dead and continues as a vital part of
popular culture.
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