The Banshees of Inisherin Filminde Modern Trajik Karakterler

Elif Taşdemir Şanlı
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Abstract

While tragic art creates the opportunity to reveal the contradictions and conflicts of the period in which it emerged in both social and individual contexts, it can also reveal a universal human condition. Just as wars, deaths, and natural and man-made disasters can be described as ‘tragic,’ individual situations such as separations, despair, and anxiety can also be tragic. The originally applied form of tragedies, which we know to have emerged in Ancient Greece in the fifth century BC, has changed over the centuries, as have the changing culture, society, and forms of government. In Ancient Greek tragedies, which generally take their subject from myths, the place of the noble hero who incurred the wrath of the gods, exceeded the boundaries beyond measure, and committed a tragic crime has been replaced by ordinary people who experience tragic situations, sometimes due to external reasons arising from the existing order, and sometimes due to the end of a friendship, in modern tragedies. This paper aims to discuss in
伊尼舍尔的人妖》电影版《现代音乐家》(Modern Trajik Karakterler
悲剧艺术为揭示其产生时期在社会和个人背景下的矛盾和冲突提供了机会,同时也能揭示人类的普遍状况。正如战争、死亡、天灾人祸可以被描述为 "悲剧 "一样,离别、绝望和焦虑等个人境遇也可以是悲剧。据我们所知,悲剧最初的应用形式出现于公元前五世纪的古希腊,但几个世纪以来,随着文化、社会和政府形式的变化,悲剧的应用形式也发生了变化。古希腊悲剧一般以神话为题材,在现代悲剧中,招致众神愤怒、超越界限、犯下悲惨罪行的高尚英雄的位置已被经历悲惨境遇的普通人所取代,有时是由于现有秩序产生的外部原因,有时是由于友谊的终结。本文旨在探讨
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