Write short notes on the following:

a)   Aristotle's theory of tragedy

Aristotle's theory of tragedy. As per Aristotle, misfortune has six fundamental components: plot, character, style, thought, exhibition (picturesque impact), and melody (music), of which the initial two are essential. The greater part of the Poetics is dedicated to examination of the extension and legitimate utilization of these components, with illustrative models chose from numerous grievous shows, particularly those of Sophocles, in spite of the fact that Aeschylus, Euripides, and a few writers whose works at this point don't endure are additionally refered to.

 

A few of Aristotle's primary concerns are of extraordinary incentive for a comprehension of Greek grievous show. Especially huge is his explanation that the plot is the main component of misfortune:

 

Misfortune is an impersonation, not of men, but rather of activity and life, of bliss and hopelessness. Furthermore life comprises of activity, and its end is a method of movement, not a quality. Presently character decides men's characteristics, however it is their activity that makes them glad or pathetic. The motivation behind activity in the misfortune, in this manner, isn't the portrayal of character: character comes in as adding to the activity. Henceforth the occurrences and the plot are the finish of the misfortune; and the end is the head thing of all. Without activity there can't be a misfortune; there might be one without character. . . . The plot, then, at that point, is the primary standard, and, so to speak, the spirit of a misfortune: character holds the subsequent spot. Aristotle's theory of tragedy.

 

Aristotle proceeds to examine the design of the best grievous plot and spends a few sections on its prerequisites. He says that the plot should be a finished entire — with an unmistakable start, center, and end — and its length ought to be to such an extent that the observers can appreciate without trouble the two its different parts and its general solidarity. Also, the plot requires a solitary focal subject wherein every one of the components are legitimately identified with show the adjustment of the hero's fortunes, with accentuation on the sensational causation and likelihood of the occasions.

b) Poet as "a man speaking to men"

 Poet as "a man speaking to men". Generally great verse is the unconstrained overflowing of compelling feelings; nonetheless, despite the fact that this is valid, sonnets of enduring worth have never been delivered on a wide scope of subjects by anybody other than a man who, as well as having more prominent than expected "natural reasonableness had additionally thought long and profoundly" about the topic. Indeed, our thoughts, which are truth be told the overall portrayals of our past feelings as a whole, change and guide our continuous floods of feeling, as we find by considering the relationship of these overall delegates to each other. The rehashing and interest of this demonstration will make our sentiments become related with significant subjects until, assuming we are brought into the world with a lot of reasonableness, those very propensities for psyche will be framed that, by following indiscriminately and naturally the motivations of such propensities, will portray articles and express opinions of a nature and in a setting that is genuinely critical to men. Poet as "a man speaking to men".

c) The woman as the 'second sex'

The woman as the 'second sex. The Second Sex (French: Le Deuxième Sexe) is a 1949 book by the French existentialist Simone de Beauvoir, in which the writer examines the treatment of ladies from the beginning of time. Beauvoir investigated and composed the book in around 14 months somewhere in the range of 1946 and 1949.She distributed it in two volumes, Facts and Myths and Lived Experience (Les faits et les mythes and L'expérience vécue in French). A few parts first showed up in Quite a while Temps modernes. One of Beauvoir's most popular books, The Second Sex is regularly viewed as a significant work of women's activist way of thinking and the beginning stage of second-wave feminism. The woman as the 'second sex

d)       Base-superstructure relationship in Marxist criticism

Marxist criticism Communism gets a few ideas from the nineteenth-century compositions of Karl Heinrich Marx, however a significant number of Marx's thoughts acquired fame in the 20th century. A reason of Marxist analysis is that writing can be considered philosophical, and that it very well may be investigated as far as a Base/Superstructure model. Marx contends that the monetary method for creation in a general public record for its base. Marxist criticism A base decides its superstructure. Human establishments and philosophies that produce craftsmanship and scholarly texts contain the superstructure. Communist analysis subsequently underscores class, financial status, and power relations among different sections of society.

 e) Patriarchy

Patriarchy Man centric society is a social framework wherein men hold essential power and prevail in jobs of political initiative, moral power, social advantage and control of property.Some male centric social orders are likewise patrilineal, implying that property and title are acquired by the male genealogy. Patriarchy