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.
The Princeton Legacy Library uses the latest print-on-demand
technology to again make available previously out-of-print books
from the distinguished backlist of Princeton University Press.
These paperback editions preserve the original texts of these
important books while presenting them in durable paperback
editions. The goal of the Princeton Legacy Library is to vastly
increase access to the rich scholarly heritage found in the
thousands of books published by Princeton University Press since
its founding in 1905.
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