Tragic discussion from “The Road” film

Tragic discussion from “The Road” film

            Tragedy in usual scenario defines an occurrence that causes excellent suffering distress as well as destruction, for instance, a severe accident natural catastrophe or even crime but in our philosophical aspect and evaluation of tragedy as a depiction of suffering experienced on the stage or in another medium

The integral accident

Virilio had the belief that technology cannot be in existence without the potential for accidents. He also argued out that the invention of the locomotive also contained the design of derailment. The thoughts of philosophers like Aristotle claiming that there is no science of the accident were disagreed by Virilio, who pointed out that that the growing credibility of simulators was designed to escape the disaster. Where he argued that an industry was born from the unholy marriage of the world war two science (Cormac Mccarthy).

Within the most potent insights present in human art is the ability to reveal the emotional concepts of the critical theological essence. For example, literary the genre of tragedy probes with honesty how the inevitability of death skews the social achievements and relationships. This regarding me the exploration of the Cormac McCarthy film the road as a modern-day tragedy expressing similar issues (Cormac Mccarthy).

In the film, the road, the plot is genuinely simple, where a nameless father and son are wandering through post-apocalyptic America with them struggling in surviving in a wasteland that is produced by unexplained cataclysmic occurrences. The film rhymes with the western culture as it presents death in a manner that the modernized works of literature do

The film forces the reader to experience the totality of death as the film is seen intertwining the tragedy of individuals’ death with the drama of the end of the earth. The film reveals the finitude of the creation as the sun gives out as well as the earth’s vegetation becoming incapable of regeneration space and time are considered meaningless.in this perception the film presents a terrible dissonance to the viewer to the hopes presented in the book; in the finding of the food and development of the shelter wrapping it all for the son to live on are in line with the fact that the dying earth is inevitable dooms for the human race with the social history ending as the planet descends into nothingness (Cormac Mccarthy)

The dissonance that we happen to feel allows us to understand how we are incorporating the aspect of tragic in human life with the western literature review illustrating two forms of sad incidences. A cyclical one that is representing the perpetual uncertainties of the world, as well as the human’s place in it. Secondly, it was a more linear one that served an ultimate and inescapable probability of disintegration in individual human living.besides in the human world itself

In the first scenario, life is composed of the recurrent reversals and returns of fortune. Therefore tragedy can be acceptable since the marginal consolations of the vicissitudes affording. The encouragements are prevalent in human existence, for instance, upturns in scenarios or family love fortune. In the second instance, the life is represented as a linear culminating in death where tragedy is a human encounter encompassing forces that are above our control that necessarily pose us to an inexorable and definite end (Cormac Mccarthy). There is nothing that is within the structures of the creation can provide out marginal consolation

In my argument, the second approach of tragedy is more certain to the real experience in real human life and also concerning the witness of the bible as well as the life of Jesus Christ. With human existence elaborated as the revelation of the Christ and the finality of Christ’s death at Calvary being inexorable; thus we cannot view the Calvary as a vicissitude that will be consoled that can be soothed with something else other than along the creation (Cormac Mccarthy)

The road, therefore, does engage us through the theological aspect since it prompts us to question whether we can accommodate the linear idea of tragedy in human life or if we desire a more consoling form. Are we viewing things along with the current structures of their existence to the providence of the consolation in the face of death? Or can we see life in an exorable progression of ideas to a final disintegrating ending? Acceptance of the linear viewing of tragedy either is not the reason for despair, as it rarely makes we Christians prefer a more robust hope. Forcing us to take seriously instantly the new resurrection life set into motion through Christ’s resurrection to be the only means to act against death and the structures of the limited creation as perceived by the road film.