Faust is Dead. Mark Ravenhill's View on a Posthuman Era.
This article departs from a close reading of Mark Ravenhill's Faust (Faust is Dead) and argues that the play in its radical postmodern sensibilities asks fundamental questions about the future of the tragic hero in contemporary playwriting. One of its central notions is Fukuyama's megalothymia to de...
| Publicado en: | Neophilologus Vol. 96; no. 4; pp. 651 - 660 |
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| Formato: | Artículo |
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Springer Nature
Oct2012
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=79616796&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 79616796 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 00282677 OK9 jtl: Neophilologus issn: 00282677 maglogo: N pubinfo: dt: Oct2012 vid: 96 iid: 4 pid: 237 pub: Springer Nature artinfo: ui: 79616796 10.1007/s11061-012-9306-4 ppf: 651 ppct: 9 formats: fmt: @attributes: type: P size: 142KB tig: atl: Faust is Dead. Mark Ravenhill's View on a Posthuman Era. aug: au: Vos, Laurens affil: Sint-Veerleplein 4/c 9000 Ghent Belgium su: Posthumanism Postmodernism (Philosophy) Faust Is Dead (Theatrical production) Ravenhill, Mark Fukuyama, Francis, 1952- sug: subj: Posthumanism Postmodernism (Philosophy) Faust Is Dead (Theatrical production) Ravenhill, Mark Fukuyama, Francis, 1952- keyword: Faust Fukuyama, Francis Lacan, Jacques ab: This article departs from a close reading of Mark Ravenhill's Faust (Faust is Dead) and argues that the play in its radical postmodern sensibilities asks fundamental questions about the future of the tragic hero in contemporary playwriting. One of its central notions is Fukuyama's megalothymia to denote the human drive to compete with one another. As Fukuyama has delineated in his book The End of History and the Last Man (1992), man has lost this drive and is lost in an apathetic existence. It is this state of lethargy that can be noticed in Ravenhill's play, and that also explains the use of cruelty, as a means to undo this posthuman, desireless existence. Consequently, the tragic hero has become a spectator in his own drama. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Neophilologus is a copyright of Springer, 2012. All Rights Reserved. item: Neophilologus holder: Springer Nature dt: @attributes: year: 2012 holdings: @attributes: islocal: N |
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