Exposing characters’ motives dissolved tragedy’s sacred awe and birthed citizen theater

Evidence

This explains why the atternpts-in Greek theater-to shore up (to “expand”) the power of tragedy (by diversifying and multiplying characters, exposing their rnotives-aH those “improvements” from Aeschylus to Sophocles to Euripides) serve equally as paths leading away from sacred awe, until gradually theater’s citizen forms-drama, comedy, etc.-are introduced. — Édouard Glissant, Poetics of Relation, 315

Categorization

• XREF: Parallels the move from opacity to exposition — like strategic essentialism giving way to literal residence — as intelligibility collapses the very power it clarifies. — connects to: The novel makes ambiguity of motive its core dramatic engine — Peter Morey, Islamophobia and the Novel, 276; Greek tragedy demanded aesthetic distance whereas mass culture demands raw identification — Theodor W. Adorno, The Culture Industry: Selected Essays…, 235

Broader Connections

• The novel makes ambiguity of motive its core dramatic engine #corroborates (0.78) — Peter Morey, Islamophobia and the Novel, 276
• Greek tragedy demanded aesthetic distance whereas mass culture demands raw identification #complicates (0.75) — Theodor W. Adorno, The Culture Industry, 235