bourgeois tragedy

The London Merchant is an early example of bourgeois tragedy.

The London Merchant marked the introduction of the bourgeois tragedy.

Values like virtue, humanity, individuality and true feelings are cherished in bourgeois tragedies.

Written in 1755 while the author was living in Potsdam, it is seen by many scholars to be one of the first bourgeois tragedies.

Now he and translator Mike Poulton turn their attention to this earlier 1783 play, long considered as a landmark in the development of bourgeois tragedy.

The work is a classic example of German bürgerliches Trauerspiel (bourgeois tragedy).

It was broken by the onset of Bourgeois tragedy such as Love and Intrigue.

Bourgeois tragedies tend to propagate the values of the bourgeois class to which their heroes belong.

Written in 1937, it would in effect be a "bourgeois tragedy", according to Jean Giraudoux himself.

Lillo revived the genre of play referred to as domestic tragedy (or bourgeois tragedy).

Schiller develops his criticisms of absolutism and bourgeois hypocrisy in this bourgeois tragedy.

Bourgeois tragedy (German: Bürgerliches Trauerspiel) is a form that developed in 18th-century Europe.

It lay on the table, bearing on its first page the title, /Gertrude, a Bourgeois Tragedy/.

There is no bourgeois morality, Wedekind is saying, and therefore there can be no bourgeois tragedy.

The first true bourgeois tragedy was an English play: George Lillo's The London Merchant; or, the History of George Barnwell, which was first performed in 1731.

Critics like F.J. Lamport and Eric Auerbach have noted his innovative use of dramatic structure and his creation of new forms, such as the melodrama and the bourgeois tragedy.

Old hierarchies broke down, and new forms began to flourish: the ballad opera, the bourgeois tragedy, and especially, a new form of fiction called the novel with which authors such as Henry Fielding had great success.

It is telling that no one who encounters this 1772 bourgeois tragedy for the first time in Michael Thalheimer's furiously emotional and erotic production from the Deutsches Theater in Berlin could possibly understand Schlegel's jibe.

Intrigue and Love belongs to the era of Sturm und Drang and is categorised as a bourgeois tragedy, a genre attributable to Gotthold Ephraim Lessing - Lessing's own Emilia Galotti is a key influence on it.

It is to gain authority from the Poetics for his "bourgeois tragedy" (bürgerliches Trauerspiel) by arguing that with the reduction in the social standing of the characters of his plays must come a corresponding reduction in the intensity of the emotions displayed by them and the reversals of fortune that they experience.