However, Sophocles's "Trachis Woman" 11 created only the tragic drama in the deadly world, even without the foundation of the universe. Like Hercules, the drama can be divided into two parts. However, unlike Hercules, the world of Hercules can be divided into micro and macro, but also male and female. This division is a causal relationship that helps emphasize the tension between the domestic world that emphasizes emotion, compassion, and emotion and the heroic world that supports responsibility, honor, and glory.
The power of war has changed. It forces the individual to temporarily stay in an extreme space beyond country, gender, socio-economic - political boundaries. Experience can be varied, but the state of war usually eradicates the old norm to create a restricted area. In other words, by limiting the space, people can acquire experience and knowledge. Ellie Wiesel's night, Margaret Duras lover, and T.S Wilderness Elliott discovered vulnerability of the human system. At night, the most important lesson of Wiesel's role seems to be learning the persistence and vulnerability of the human system. "Explain the adulthood of childhood with a scar of life experience" (Jaron 208). The narrator explained his scars about the eternal experience of society. He said: "Most people think we will stay in the slums until the end of the war ... after that everything will be the same as before.Slum streets consist of two German people's rule It is not a Jew, but is dominated by a delusion "(Wessel 12)
Shakespeare's "Tenth Night" is in the strict social structure that dominates the limits of licensed rural tyranny and its society. When the strict system of sex and love is replaced by the changing force in the game by characterization of the prototype, they become unstable. Petrarchan's lover Osino's poem failed to evoke a woman's desire, and the subsequent romantic success of Viola, a previously established love facility belongs to an ambiguous area not belonging to homosexual practice It showed that it was. In the masculinity that Viola showed, the gender structure that determines the level of dynamics is invalid. After all, the drama relies on comedy as a means to withstand reality and absurdity, regards social construction as aerodynamics, demonstrates the dramatic trajectory of the drama to the utmost and implies ambiguity of gender role of social construction.