Both, however, are fully conscious of their truth. Willy and Biff reveal actions that traditional psychoanalysis call unconscious motivations. Their conflict’s foundation is a “nuclear scene” and consequential “nuclear script.” For Tomkins, “nuclear scripts represent the tragic” vision of life because they lead people into self-destructive behaviours. Miller provides context in justifying the “tragedy of the common man.” Willy and Biff Loman’s mutually reflected (self-)disgust contamination scripts are mediated by shame damage-reparation scripts.
Despite radical cultural-historical differences, tragedy again depends on disgust-shame scripts in the protagonist’s personality structure. Salesman shows the fullest integration of the protagonist’s personality with the play’s dramatic structure. Urn:lcp:deathofsalesman0000arth_m4w7:epub:5d46617e-02dd-4454-80e4-fc62fc572f46 Foldoutcount 0 Identifier deathofsalesman0000arth_m4w7 Identifier-ark ark:/13960/s2j3dsfmr8g Invoice 1652 Ocr tesseract 5.2.0-1-gc42a Ocr_detected_lang en Ocr_detected_lang_conf 1.0000 Ocr_detected_script Latin Ocr_detected_script_conf 1.0000 Ocr_module_version 0.0.18 Ocr_parameters -l eng Old_pallet IA-NS-0001514 Page_number_confidence 92.07 Pages 166 Partner Innodata Pdf_module_version 0.0.20 Ppi 360 Rcs_key 24143 Republisher_date 20221107161928 Republisher_operator Republisher_time 557 Scandate 20221024210319 Scanner Scanningcenter cebu Tts_version 5.Miller’s Death of a Salesman provides a third example of the disgust-shame dyad and contamination scripts in a tragedy.
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