Dean_the_Young wrote...
Literature is so varried I wouldn't stand by such a generalization. For every Hamlet, Shakespear wrote a Macbeth. And we can just as easily point to any number of American stories in which the character is fleshed out but not dynamic: the Dirty Harry, the grizzled special forces/CIA conspiracy buster, the elite specialist (doctor, soldier, engineer) who solves some problem.
In a number of respects, American literature about youth rebelling against authority is their coming of age process in which they also come to terms with their role in the world. Luke Skywalker didn't just rebel against the Empire, he accepted his role as a Jedi Knight. Neo didn't only topple the matrix, he stepped into the role of savior and leader for the rebels.
In general this convention does hold true throughout the cannon of classic American literature, though, which is what I was talking about. I don't really think pop culture films intended for a worldwide audience can really be compared fairly- most are done by international crews with people from all over the world working on every aspect. (And FWIW Star Wars is basically a spaghetti western in space, and I say this as someone with a Star Wars tattoo. Not knocking it or anything, but it's basically a retelling of a movie Sergio Leone made more than once...)
De Crevecoeur's Letters from an American Farmer has several essays on this that still hold true today (and read quite easily despite their age) if you're interested. It's public domain.
As for Macbeth... well, look at it like this- the hero is the one who accepts his place, when the protagonist is a villian they usually get punished for refusing to do just that.
Macbeth didn't accept his role in society. His wife died, his rule crumbled, and he lost his head. Lady Macbeth refused to accept both her gender
and social standing, and she got it even worse than her husband. Marlowe's Faustus tried to cheat his way beyond being an academic and he was dragged bodily into hell as a result. Volpone, Face and Subtle from the Alchemist, Barabas in the Jew of Malta, Lear, Iago, Richard III... They all get punished, usually quite severely, because they do not accept their place. In general the sixteenth and early seventeenth century give us some of the most dramatic examples of this convention.
(Although I hesitate to lump Shakespeare into
any category since I honestly believe his work transcends both his era as well as most literary tradition and convention. Which is why he's the subject of my undergrad honors thesis and will be the concentration of my PhD next year. I could ramble for
days on Shakespeare,
especially Macbeth. Seriously, don't get me started, I've probably written about eighty pages on Macbeth in the last two years alone.

)
Modifié par LupusYondergirl, 07 septembre 2010 - 09:47 .