The concluding section of the book emphasizes the shift of paradigm from modernism to postmodernism as a way of contextualizing Terry Eagleton’s tragic theory. It suggests that the Dionysiac turn characterizing adaptations of Greek tragedy from the 1970s to the beginning of the twenty-first century, rather than being an intellectual game, in fact questions the power relations embedded in the modern reception of tragedy, while also expanding the definitions and frames established by canonical representations.
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