The architecture of tragedy is a complex and emotive topic that explores the ways in which design elements can be used to commemorate and remember significant events. This thesis aims to examine the role of architecture in the representation of tragedy, with a specific focus on how design elements such as light, shadow, materiality, and spatial arrangement can evoke emotions and tell a story. The thesis will begin by examining the historical context of architecture and tragedy, looking at examples from ancient civilizations to contemporary times. It will then move on to explore the ways in which tragedy has been represented in architecture, examining key design elements and their impact on the viewer. Case studies will illustrate how architecture has been used to commemorate tragedies such as the Holocaust, 9/11, and Fukushima disasters. The thesis will also explore the ethical implications of using architecture to represent tragedy, including questions about appropriateness, respect, and memory. It will examine the potential for architecture to create a sense of healing and closure for those affected by tragedy and the potential to be misused or exploited for political or commercia l gain. Ultimately, this thesis aims to comprehensively examine the relationship between architecture and tragedy, highlighting the importance of design elements in telling a story and commemorating significant events. It will explore the ways in which architecture can be used to create a sense of empathy and understanding while also acknowledging the complex ethical issues involved in representing tragedy through design. / Master of Architecture / The relationship between architecture and tragedy has long been intertwined, serving as a means of expression, storytelling, and commemoration. The role of design elements such as light, shadow, materiality, and spatial arrangement in evoking emotions and telling a story has been significant in depicting tragedy in architecture. This thesis explores the ways in which architecture has been used to represent tragedy, examining key design elements and their impact on the viewer. Case studies, including the Holocaust Memorial in Berlin, the 9/11 Memorial in New York, and the Fukushima Memorial in Japan, illustrate how architecture has been used to commemorate and remember significant events.

Thesis (M.A. (African Languages)) -- University of the North, 1997 / Refer to the document

Thesis (M. A. (African Languages)) -- University of Limpopo, 1999 / Refer to document

Thesis (M.A. (African languages)) --University of Limpopo, 2012 / This is a comparative study of Tragedy and Comedy, with special reference to the works of Mathivha, Mahamba, Milubi and Madima. Chapter One is an introduction of this study. The aim, scope and methodology are discussed herein. Concepts such as characters, plot and conflict are defined in this chapter. The chapter also includes a summary of Mabalanganye, Zwo Itwa, Khoro dzi sa dzhenelani and Hu na Savhadina respectively. Chapter Two focuses on what is considered as tragic in Western culture as well as in Tshivenda culture. The elements which the researcher believes are necessary for this study are: stature of the hero, catharsis, hubris, harmatia, ignitio, nemesis, victims, confidant, bravery, death, witchcraft and feminism. Chapter Three gives an exposition of the requirements and criteria for drama such as plot, characterization, and conflict. A comparison between the works of Mathivha and Mahamba has also been made. Chapter Four focuses on the elements of comedy. The elements of comedy which the researcher believes are necessary for this study are: the comic individual, verbal comedy, physical comedy, lack of feelings, unfulfilled expectations, the plot and the audience and western culture perspective. A comparison between the works of Milubi and Madima has also been made. Chapter Five gives the conclusion of the study. It also gives findings and some recommendations to new authors.

The curiosity of different beliefs to “tragedy” between the two worlds, Eastern where tragedy is unpleasant and Western where tragedy is praised as high art form since Ancient Greek. The reason that they are very different as two ends from one point and how to present them directly to understandable stage in art forms itself are questioned. This essay is a research into philosophical living and belief relates to tragedy in Eastern and Western views toward tragedy in art forms. The way tragedy has been put differently and the way people treat this feeling. There is a border which is deep-seated into each cultures. The relation of time is used to explain tragedy in Ancient Greek. Western tragedy is big enough to play a main role while Eastern tragedy play a part of the whole in one legend or story. The study of Andy Warhol’s method “Traumatic Realism” which is relevant to starting question explains the direction of using repetition as presentation in order to bring viewers get into trauma at its surface. Picasso’s painting “Tragedy”, Edward Gorey’s storytelling illustration “The Hapless Child”, and Marina Abramovic’s performance “Balkan Baroque”, are used to discuss their techniques and statements based on tragedy from different forms. There is a touching point from Warhol’s and Abramovic’s works. Conclusion talks about the method to present tragedy right there in the work. Selections of pictures are used to tell direction of tragedy in the work. Hierarchy of perception and changing of time in works are explained by Ancient Greek tragedy philosophy and Warhol’s repetition. Feeling is gradually changed. Traces can be found. Time is taking it away.

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