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[[Walter Benjamin]]'s major work on tragic form is ''The Origin of German Tragic Drama'' (1928). [[Gilles Deleuze]] develops his theory of tragic representation in his collaboration with [[Félix Guattari]], ''Anti-Œdipus'' (1972). In the wake of Aristotle's ''[[Poetics]]'' (335 BCE), tragedy has been used to make [[genre]] distinctions, whether at the scale of [[poetry]] in general, where the tragic divides against [[epic]] and [[lyric]], or at the scale of the drama, where tragedy is opposed to [[comedy]]. In the modern era, tragedy has also been defined against drama, [[melodrama]], the [[tragicomic]] and [[epic theatre]]. [[Drama]], in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-[[Genre|generic]] deterritorialization from the mid-19th century onwards. Both [[Bertolt Brecht]] and Augusto Boal define their [[epic theatre]] projects ([[Non-Aristotelian drama]] and [[Theatre of the Oppressed]] respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation.[http://en.wikipedia.org/wiki/Tragedy]

[[Walter Benjamin]]'s major work on tragic form is ''The Origin of German Tragic Drama'' (1928). [[Gilles Deleuze]] develops his theory of tragic representation in his collaboration with [[Félix Guattari]], ''Anti-Œdipus'' (1972). In the wake of Aristotle's ''[[Poetics]]'' (335 BCE), tragedy has been used to make [[genre]] distinctions, whether at the scale of [[poetry]] in general, where the tragic divides against [[epic]] and [[lyric]], or at the scale of the drama, where tragedy is opposed to [[comedy]]. In the modern era, tragedy has also been defined against drama, [[melodrama]], the [[tragicomic]] and [[epic theatre]]. [[Drama]], in the narrow sense, cuts across the traditional division between comedy and tragedy in an anti- or a-[[Genre|generic]] deterritorialization from the mid-19th century onwards. Both [[Bertolt Brecht]] and Augusto Boal define their [[epic theatre]] projects ([[Non-Aristotelian drama]] and [[Theatre of the Oppressed]] respectively) against models of tragedy. Taxidou, however, reads epic theatre as an incorporation of tragic functions and its treatments of mourning and speculation.[http://en.wikipedia.org/wiki/Tragedy]

 

[[Category: General Reference]]

[[Category: General Reference]]

[[Category: Languages and Literature]]

[[Category: Languages and Literature]]