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The publication introduces the "new messenger" as a specific type of dramatic character, a follower of the conventional „messenger" whose presence in traditional drama serves several purposes, which the new messenger also fulfils. What makes it different is the fact that it is not an independent character, but the role it has is assumed by major characters in contemporary mainstream drama, such as journalists and reporters, politicians and their assistants, scientists and teachers, detectives and police officers, historical characters, philosophers and literary scholars, etc. The publication provides examples of the use of this type in a series of case studies of plays by two British playwrights Michael Frayn and Tom Stoppard, and an African-American playwright August Wilson.
Messengers in literature --- English drama --- American drama --- English Literature --- English --- Languages & Literatures --- American literature --- History and criticism --- Messengers in literature. --- History and criticism. --- Frayn, Michael --- Criticism and interpretation.
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The messenger who reports important action that has occurred offstage is a familiar inhabitant of Greek tragedy. A messenger informs us about the death of Jocasta and the blinding of Oedipus, the madness of Heracles, the slaughter of Aigisthos, and the death of Hippolytus, among other important events. Despite its prevalence, this conventional figure remains only little understood. Combining several critical approaches-narrative theory, genre study, and rhetorical analysis-this lucid study develops a synthetic view of the messenger of Greek tragedy, showing how this role illuminates some of the genre's most persistent concerns, especially those relating to language, knowledge, and the workings of tragic theater itself. James Barrett gives close readings of several plays including Aeschylus's Persians, Sophocles' Electra and Oedipus Tyrannus, and Euripides' Bacchae and Rhesos. He traces the literary ancestry of the tragic messenger, showing that the messenger's narrative constitutes an unexplored site of engagement with Homeric epic, and that the role illuminates fifth-century b.c. experimentation with modes of speech. Breaking new ground in the study of Athenian tragedy, Barrett deepens our understanding of many central texts and of a form of theater that highlights the fragility and limits of human knowledge, a theme explored by its use of the messenger.
Greek drama (Tragedy) --- Messengers in literature. --- Narration (Rhetoric) --- Rhetoric, Ancient. --- History and criticism. --- History --- -Messengers in literature --- Rhetoric, Ancient --- Classical languages --- Greek language --- Greek rhetoric --- Latin language --- Latin rhetoric --- Narrative (Rhetoric) --- Narrative writing --- Rhetoric --- Discourse analysis, Narrative --- Narratees (Rhetoric) --- History and criticism --- Tragédie grecque --- Messagers dans la littérature --- Narration --- Rhétorique ancienne --- Histoire et critique --- Ancient rhetoric --- Messengers in literature --- achilles. --- aeschylus. --- ancient greece. --- ancient world. --- arete. --- athenian tragedy. --- bacchae. --- classicism. --- drama. --- electra. --- epic. --- epistemology. --- euripides. --- genre study. --- gods and goddesses. --- greek tragedy. --- hellenism. --- homer. --- homeric epic. --- hubris. --- human knowledge. --- literary ancestry. --- literary criticism. --- literature. --- messenger. --- mythology. --- narrative poetics. --- narrative theory. --- nonfiction. --- oedipus rex. --- oedipus tyrannus. --- oedipus. --- performing arts. --- persians. --- poetry. --- rhesos. --- rhetoric. --- rhetorical analysis. --- sophocles. --- theater. --- tragedy. --- tragic messenger.
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Les notions de message et d’ambassade semblent étroitement liées. Cependant, si l’ambassade constitue un fait historique, les termes de « message » et « messager » s’appliquent à des réalités très variées. Les contributions de ce recueil permettent, par-delà la diversité des textes étudiés et des approches utilisées, de dégager des constantes qui représentent autant de problématiques pour l’étude des récits d’ambassades et des figures du messager. Même s’il se veut ou se prétend objectif, le narrateur, qui a pu être aussi acteur ou témoin de l’événement, reste le maître de son récit : il peut user de toutes les ressources du langage à sa disposition pour écrire l’histoire et orienter la relation des faits d’un point de vue idéologique, moral ou esthétique. Dans cette perspective, on notera, à bien des reprises, l’intérêt d’une démarche comparative confrontant le récit choisi à un ou plusieurs autres points de vue sur le même événement. Le message implique aussi une rencontre avec l’autre, il est étroitement lié à la parole transmise et reçue, respectée ou trahie. Se trouvent alors posées les questions de la compréhension (par exemple, du porteur de la parole divine), de la sincérité et de la confiance, mais aussi de la manipulation et du pouvoir (du messager ou de son mandant). Enfin, le messager ne s’exprime pas seulement par des mots, mais aussi par des gestes et attitudes et par le symbolisme d’objet ; il peut respecter ou transgresser des codes ou usages.
Messengers in literature. --- Heralds in literature. --- Ambassadors in literature. --- Literature and history. --- History in literature. --- Messagers dans la littérature --- Hérauts dans la littérature --- Ambassadeurs dans la littérature --- Littérature et histoire --- Histoire dans la littérature --- Messagers dans la littérature --- Hérauts dans la littérature --- Ambassadeurs dans la littérature --- Littérature et histoire --- Histoire dans la littérature --- Literature (General) --- histoire --- littérature --- ambassadeur --- héraut --- récit personnel
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