agonist

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the principal character in a work of fiction

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someone involved in a contest or battle (as in an agon)

a muscle that contracts while another relaxes

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(biochemistry) a drug that can combine with a receptor on a cell to produce a physiological reaction

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References in periodicals archive ?
Principally concerned with Milton's treatment of God in De Doctrina Christiana, Paradise Lost, and Samson Agonistes, Michael Lieb has written an enormously learned study of Milton's theological and poetic depiction of the Christian Godhead.
That is why we can speak about the rebirth of dramatic language in the unfinished Sweeney Agonistes.
The second section of Lieb's book, "The Poetics of Deity," examines Milton's God as portrayed in Paradise Lost and Samson Agonistes.
Paradise Lost, Samson Agonistes, and Paradise Regained represent for Luxon a progression in fit relationships from Adam's marital failure to Samson's recovery after divorce to the Son's self-sufficiency without a partner.
However, as early as the 1674 preface to Samson Agonistes, Milton paraphrases Aristotle's definition of tragedy in terms very similar to Dennis: i.
Present in this volume, however, are several essays engaging Paradise Lost, as well as new scholarship on Samson Agonistes and De Doctrina Christiana, works which have received an increased amount of attention of late.
In these 12 essays scholars from around the world survey Milton's work, investigate texts and give reference points while covering such topics as Milton's voluminous English and Latin prose, the legacy of his works, three hundred years of criticism, the companion poems and epistola as they relate to the educational prose works, the heroic sonnets, the characters of Lycidas, the messianic vision of Paradise Regained, the innovations in A Mask the nightmare of Samson Agonistes, and a range of topics relating to Paradise Lost, including its biblical and spiritual themes, and its treatment of gender and sex, marriage, and ecology.
Finally, the most glaring omission is mention of the most famous closet drama of the era, John Milton's Samson Agonistes.
She quotes a passage near the end of Samson Agonistes that compares Samson to a serpent encroaching on a group of domestic farm birds: she is the "tame villatic Fowl" and Ash the "Dragon" (1695, 1692).
Topics include Fish's progress, Milton's ideas of authorship, his use of the negative form in his Latin texts, the Son as angel in Paradise Lost, parental deity in the manner of Henry More, feminist liberation theology in the times of Mary Astell and Lucy Hutchinson, compounding contexts for Samson Agonistes, the culture of religious terror in Samson Agonistes, critical responses to terror and annihilation in Milton, and an offering on Milton's take on liberalism and terrorism by Fish himself.
Lupton's commentary on Samson Agonistes emphasizes Milton's refusal to clarify the significance of Samson's act.
Milton and the Rabbis develops provocative and convincing readings of major episodes in Paradise Lost, as well as in Samson Agonistes, by reference to theoretical and literary analogies within rabbinic texts, and he establishes those readings against a remarkably detailed presentation of centuries of religious and cultural encounter.
He then turns to Milton's work on English identity as an element of parliamentary governance, evaluates Paradise Regained as a republican tract and compares it to Bacon's Advancement of Learning, and shows how Samson Agonistes allows for divinely sanctioned violence in the course of nation building.
Amy Boesky, Rachel Trubowitz, and Achsah Guibbory all explore the Hebraic content of what they see as a Christian Samson Agonistes.
Lewalski's final two chapters are devoted largely to discussion of the major poetic works of Milton's later years: Paradise Lost, Paradise Regained, and the verse drama Samson Agonistes.