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English Literature, 1500 to 1799: Biographies
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Shakespeare’s Fool in King Lear, for example, is introduced into the text partly for purposes of “making strange” (ostranenie) the world of conventional pathos by making Lear’s dramatic, aristocratic language of suffering seem distant and unreal when it is cited beside similar meanings couched in the Fool’s own folkloric, nursery riddles.

Blanche Dubois a Tragic Hero Free Essays - StudyMode
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"Blanche Dubois A Tragic Hero ..

Next we will review the elements of tragedy that we discussed and took notes on before reading the play. After reviewing these elements I will ask the students to identify any of these elements they have found at this point. I will record their observations on the board, and ask the students to give line references if they can. After running through the conventions of tragedy they have found we will determine whether any of the conventions specifically define a male or female character's role in the play. If the students do not come up with any ideas I will prompt them by asking them about the title character of the play and the person that Duncan, the soldiers, and the witches are talking about. We will use this to begin thinking about the role of the tragic hero in the play. We will also discuss what we know about the character at this point.

King Lear: A Tragic Hero Bibliography w/2 ..
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Genre is an interesting concept to examine with any text. Many students have been trained by teachers to identify a variety of genres, but few students seem to think about how the conventions of a particular genre function. Take for example the "bad guy" of the mystery novel. It is understood by the writer and the reader that this character will be introduced early in the novel. This way the reader is given a chance to consider if he/she is the criminal. Any mystery writer who breaks convention and does not introduce the character within at least the first half of the book is cursed by the reader as a cheat. While we all know about this convention of the mystery genre, few of us consider what this convention forces within the text. What kind of character must it be? What kind of relationship will that character have with the protagonist? How long has the protagonist known this person? These problems and many others must be solved in a specific way to meet the needs of the genre. The reader wants to try to guess who the bad guy really is, but it must be a believable answer and not too easy to figure out. The conventions of the genre force the writer to create a certain kind of character who then must play a certain role. This is how genre works. It is a title for a series of conventions and the reader, or in the case of a Shakespeare play the audience, expects those conventions to be adhered to. This concept forms the basis of this unit. While learning the conventions of Shakespearean tragedy and comedy, the students will examine how those conventions force characters of a specific gender to behave in certain ways. It is my belief that in most cases the way men and women think and behave in Shakespearean comedy and tragedy is decided by the conventions of the genre.

To what extent can Othello be considered a ‘tragic hero’
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