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Relevant bibliographies by topics / Drama Tragedy

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Academic literature on the topic 'Drama Tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 3 February 2022

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Journal articles on the topic "Drama Tragedy"

1

Zotova, Tatiana A. "TRAGEDY IN L. TIECK’S DRAMA. SOME ASPECTS." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 32–41. http://dx.doi.org/10.28995/2686-7249-2021-3-32-41.

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The article considers the genre of tragedy in the works of L. Tieck, one of the key figures of German Romanticism. It is known that the tragedy genre among the German romantics is represented mainly by two varieties: the “tragedy of fate” (Schicksalsdrama) and the drama on a religious-historical theme (in literature most often referred to as Universaldrama, “universal drama”). L. Tieck stands at the origins of both genres, while the tragedy “The Life and Death of Saint Genoveva” (1801), to which other religious and historical dramas of German romanticism go back, turned out to be especially influential. Having created examples of those two genres, Tieck rethinks tragic structures, relativizing them in different ways – firstly, by transforming the tragic genre itself, and, secondly, by including tragic elements into the complex genre constructs, mainly into fairy-tale dramas. That rethinking, however, takes place mostly in the mainstream of the parody typical of Tieck’s work – whether it is a parody of the “main” tragedy with a comedy counterpart or the inclusion of parodies of the tragedy, including his own tragedies, in comedy texts. At the same time, however, Tieck’s last dramatic work, “Fortunat”, which has much in common with his fairy-tale dramas and, like them, is a complex genre construct, ends in tragedy in its purest form, the triumph of the tragic substance. In our opinion that testifies to the impossibility of complete relativization of tragedy and to the crisis of romantic drama

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Mostafalou, Abouzar, and Hossein Moradi. "Baroque Trauerspiel in William Shakespeare’s Hamlet: A Rejection of Aristotelian Tragedy." Journal of Language Teaching and Research 8, no. 1 (January 1, 2017): 184. http://dx.doi.org/10.17507/jltr.0801.23.

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Tragedy, as a literary genre and a high form of literature, deals with lives of noble people. This type of drama is rooted in Aristotle’s formulation which later has resulted into theory of drama known as Freytag's Pyramid. This model of drama which follows Greek version of tragedy has some common features including unity of time, place, and action. Moreover, the elements of death, language, and melancholy have been treated in the conventional ways in the genre f tragedy. However, Walter Benjamin, the German philosopher and critic has opposed to the dominance of tragedy, and developed an independent genre called Trauer Trauerspiel in which ordinary people get to be the center of the play. Unlike tragedy which is based on myth, Trauer Trauerspiel is based on history that depicts the reality of life. Moreover, this genre has the trace of postmodern literature in which language has no meaning; death is treated in non-religious way, and melancholy is no longer considered to be a mental disease. By the same token, it could be claimed that Shakespeare’s Hamlet, as a dominant form of tragedy, can no longer be considered as tragedy; since it repulses conventions of tragedy and Freytag's Pyramid, it belongs to a new genre, Trauer Trauerspiel in which Greek dramas’ features can be dethroned and replaced by postmodern aspects of drama.

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Näsström, Britt-Mari. "The rites in the mysteries of Dionysus: the birth of the drama." Scripta Instituti Donneriani Aboensis 18 (January 1, 2003): 139–48. http://dx.doi.org/10.30674/scripta.67288.

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The Greek drama can be apprehended as an extended ritual, originating in the ceremonies of the Dionysus cult. In particular, tragedy derived its origin from the sacrifice of goats and the hymns which were sung on that occasion. Tragedia means "song of the male goat" and these hymns later developed into choruses and eventually into tragedy, in the sense of a solemn and purifying drama. The presence of the god Dionysus is evident in the history and development of the Greek drama at the beginning of the fifth century B.C. and its sudden decline 150 years later. Its rise seems to correspond with the Greek polis, where questions of justice and divine law in conflict with the individual were obviously a matter of discussion and where the drama had individual and collective catharsis (purifying) in mind.

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Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (March 2020): 85–100. http://dx.doi.org/10.3366/tal.2020.0410.

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This essay takes up the question of what impact Greek tragedy had on original plays written in Latin in the sixteenth century. In exploring George Buchanan's biblical drama Baptistes sive calumnia (printed 1577) and its reworking of scenes and images from Sophocles' Antigone, we see how neo-Latin drama provided a valuable channel for the sharing and shaping of early modern ideas about Greek tragedy. The impact of the Baptistes on English drama is then examined, with particular reference to Thomas Watson's celebrated Latin translation of Antigone (1581). The strange affinities between Watson's and Buchanan's plays reveal the potential for Greek tragedy to shape early modern drama, but also for early modern drama to shape how Greek tragedy itself was read and received in early modern England.

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Boyle, A. J. "Senecan Tragedy: Twelve Propositions." Ramus 16, no. 1-2 (1987): 78–101. http://dx.doi.org/10.1017/s0048671x0000326x.

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I begin by stating what Senecan tragedy is not. Senecan tragedy is not a series of declamations cast into dramatic form, as Leo claimed. It is not purely verbal drama divorced from the inner psychological realities of character, as Eliot claimed. It is not character-static drama, incohesive, structureless, lifeless and monotonously versified, as Mackail and others have claimed. It is not Stoic propaganda, as Marti claimed. It is not recitation drama, if by recitation drama is meant drama to be recited by a single speaker and essentially unstageable, as Zwierlein claims. It is not a tissue of hackneyed commonplaces, as Ogilvie claimed, nor an artificial imitation of Greek tragedy, as Beare claimed; nor is it contemptible as literature, as Summers and most nineteenth and early twentieth century critics have claimed.What is Senecan tragedy? This essay presents twelve propositions, each of which isolates a characterising property of Senecan tragedy important for the understanding of it as literary and cultural artefact. These twelve propositions constitute neither an exhaustive list of such properties nor an analysis of genre. The latter question, however, I leave not to contemporary theory, but to the Codex Etruscus and the Elizabethans.

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Gausz, Ildikó. "French tragedy in the Hungarian theatre." Belvedere Meridionale 30, no. 1 (2018): 5–20. http://dx.doi.org/10.14232/belv.2018.1.1.

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The drama is one of the important historical sources of early modern national self-interpretations. After the Long Turkish War (1591–1606) historical dramas are able to enhance patriotism and patriotic education. The tragedy entitled Mercuriade written in 1605 by Dominique Gaspard puts on stage Philippe-Emmanuel de Lorraine, Duke of Mercœur (1558–1602) when he, after the conciliation with Henry IV and leaving the Catholic League, entered into the service of Rudolf II in 1599 and joined the anti-Turkish fights in Hungary. After his death Duke of Mercœur became a mythical hero and his memory was even mentioned at the end of 17th century. Mercuriade can be considered a masterpiece of 17th century school drama, through which it is possible to study the particularities of plays written with a didactic purpose for the students.

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Askarzadeh Torghabeh, Rajabali. "The Study of Revenge Tragedies and Their Roots." International Journal of Applied Linguistics and English Literature 7, no. 4 (July 1, 2018): 234. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.4p.234.

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Tragedy has its roots in man’s life. Tragedies appeared all around the world in the stories of all nations. In western drama, it is written that tragedy first appeared in the literature of ancient Greek drama and later in Roman drama. This literary genre later moved into the sixteenth century and Elizabethan period that was called the golden age of drama. In this period, we can clearly see that this literary genre is divided into different kinds. This genre is later moved into seventeenth century. The writer of the article has benefited from a historical approach to study tragedy, tragedy writers and its different kinds in the Sixteenth and Seventeenth centuries. The author has also presented the chief features and characteristics of tragedies. The novelty of the article is the study of Spanish tragedy and its influences on revenge tragedies written by Shakespeare and other tragedy writers. Throughout the article, the author has also included some of the most important dramatists and tragedy writers of these periods including Thomas Kyd, William Shakespeare, John Marston, George Chapman, Tourneur and John Webster.

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8

Harrop, Stephe. "Greek Tragedy, Agonistic Space, and Contemporary Performance." New Theatre Quarterly 34, no. 2 (April 19, 2018): 99–114. http://dx.doi.org/10.1017/s0266464x18000027.

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In this article Stephe Harrop combines theatre history and performance analysis with contemporary agonistic theory to re-conceptualize Greek tragedy's contested spaces as key to the political potentials of the form. She focuses on Athenian tragedy's competitive and conflictual negotiation of performance space, understood in relation to the cultural trope of the agon. Drawing on David Wiles's structuralist analysis of Greek drama, which envisages tragedy's spatial confrontations as a theatrical correlative of democratic politics, performed tragedy is here re-framed as a site of embodied contest and struggle – as agonistic spatial practice. This historical model is then applied to a recent case study, Aeschylus’ The Suppliant Women as co-produced by Actors Touring Company and the Lyceum, Edinburgh, in 2016–17, proposing that the frictious effects, encounters, and confrontations generated by this production (re-staged and re-articulated across multiple venues and contexts) exemplify some of the potentials of agonistic spatial practice in contemporary re-performance of Greek tragedy. It is contended that re-imagining tragic theatre, both ancient and modern, as (in Chantal Mouffe's terms) ‘agonistic public space’ represents an important new approach to interpreting and creatively re-imagining, interactions between Athenian tragedy and democratic politics. Stephe Harrop is a Lecturer in Drama at Liverpool Hope University, where her research focuses primarily on performances and texts adapted from, or responding to, ancient tragedy and epic. She is co-author of Greek Tragedy and the Contemporary Actor (Palgrave Macmillan, forthcoming).

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9

Cartlidge, Edwin. "Drama, tragedy and gravitational waves." Physics World 17, no. 12 (December 2004): 10–11. http://dx.doi.org/10.1088/2058-7058/17/12/17.

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Chodkowski, Robert R. "Aristotle’s Poetics versus Modern Theories of Drama." Roczniki Humanistyczne 66, no. 3 SELECTED PAPERS IN ENGLISH (October 23, 2019): 25–35. http://dx.doi.org/10.18290/rh.2018.66.3-2e.

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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 57 (2009), issue 3. This paper seeks to prove that there are no grounds in the Poetics to ascribe to Aristotle the views identified with the literary theory of drama because he does not identify drama with a verbal work. On the contrary, the spectacular dimension of tragedy is for Aristotle one of the distinctive feature of tragedy vis-à-vis epos, which for him is only – to use our modern terms—a literary work. Thus, the visual element (ὄψις or ὄψεως κόσμος) is not only very important for Aristotle, but it is even a necessary component of tragedy. Indeed there are some remarks in the Poetics that suggest tragedy may exist without ὄψις, but this is only regarded as a hypothetical situation, analogical to the one when he argues that tragedy may exist without characters. In fact, however, both ὄψις and characters are regarded by Aristotle as necessary components of tragedy. He makes his considerations assuming both components. At the same time, he treats tragedy not as a text but a theatrical work in which mimesis can be conducted by the “acting persons” (πράττοντες). They are understood not as literary figures, but as stage embodiments of the heroes whose psychophysical ontic paradigms are actors.

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Dissertations / Theses on the topic "Drama Tragedy"

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Tshikovhi, Vhangani Richard. "Tragedy in N.A. Milubi's drama." Thesis, xiii, 198 leaves, 1997. http://hdl.handle.net/10386/2123.

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Ramukosi, Patrick Mbulaheni. "Modern tragedy : a critical analysis of the elements of tragedy with special reference to N.A. Milubi's plays." Thesis, University of Limpopo, 1999. http://hdl.handle.net/10386/2336.

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Kampourelli, Vassiliki. "Space in Greek tragedy." Thesis, King's College London (University of London), 2002. https://kclpure.kcl.ac.uk/portal/en/theses/space-in-greek-tragedy(bd3d0365-0a17-47b5-a2b0-e7739f9c0255).html.

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Coloma, Cares Estefanía. "Survivors in modern American tragedy." Tesis, Universidad de Chile, 2014. http://repositorio.uchile.cl/handle/2250/130551.

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Alfar, Cristina León. ""Evil" women : patrilineal fantasies in early modern tragedy /." Thesis, Connect to this title online; UW restricted, 1997. http://hdl.handle.net/1773/9455.

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Geller, Grace. "Translations and adaptations of Euripides' Trojan Women /." Norton, Mass. : Wheaton College, 2010. http://hdl.handle.net/10090/15122.

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Kavoulaki, Athena. "Pompai : processions in Athenian tragedy." Thesis, University of Oxford, 1996. http://ora.ox.ac.uk/objects/uuid:94049c7e-b93b-4d8a-a7e4-5e7d82adc7d1.

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This thesis investigates the significance of ritual movements in theatre and society of fifth-century Athens. The focus falls on processional movement, the definitive characteristics of which are drawn from the ancient Greek concept of pompe, i.e. a movement towards a defined destination, involving the conveyance of a ritual symbol (or an object or a person) between specific points of departure and arrival. The social contexts of divine and heroic cult, funerals and weddings prove to be the main occasions for the performance of such processional movements. In the world outside the theatre, processions are shown to be crucial in defining transitions, shaping social relations, and manifesting the action and inviting the attention of the divine. The socio-religious significance of processions is fully appropriated and explored by tragedy. Processional action, recurrently evoked in the tragic plays, proves to be crucial for the articulation of the tragic δρώμενα. This is argued in the collection and analysis of a number of scenes from extant fifth-century tragedy in which processional resonances permeate the action. The interpretation of the scenes in the light of the ritual background which shapes them considerably enhances the understanding and appreciation of the plays as theatrical experience - experience which explores the potential of spatial configurations and visual symbolism, in a context of symbolic communication which is largely defined by participation in the rituals of the community. The thesis argues that the importance of processions in the theatre is inextricably connected with their power - as manifested in the ritual life of the polis - to gather the community and to initiate the process of θεάσασθαι, implicating both active participants and θεαταί in the performed action. Greek tragic theatre builds upon this basic function of processions and activates their power. Thus it also combines their potential to define transitions with the significance of tragic μετάβασις; and with the importance of demarcation of space and transformation of time in the theatre. Ritual experience is activated, reshaped and enlarged, enabling the re-creation and transformation of the experience of the audience. Processions can illuminate the nature of tragedy itself.

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8

OLIVEIRA, MARCELA FIGUEIREDO CIBELLA DE. "FROM THE MEANING OF TRAGEDY TO THE TRAGEDY OF MEANING: PHILOSOPHY AND THE RUIN OF DRAMA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34912@1.

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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
FUNDAÇÃO DE APOIO À PESQUISA DO ESTADO DO RIO DE JANEIRO
BOLSA NOTA 10
Esta tese investiga a passagem histórica da antiga questão do sentido da tragédia para a contemporânea constatação de uma tragédia do sentido no drama, culminando na discussão filosófica sobre a ruína da forma dramática tradicional em obras do final do século XIX até meados do XX - em especial, no caso de Samuel Beckett.
This thesis investigates the historic passage from the old issue of the Meaning of Tragedy to the contemporary finding of a Tragedy of Meaning in drama, culminating in the philosophic discussion about the ruin of traditional dramatic form in the works of the late nineteenth until the mid-twentieth century in particular, in the case of Samuel Beckett.

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9

Salis, Loredana. "'So Greek with consequence' : classical tragedy in contemporary Irish Drama." Thesis, Ulster University, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421897.

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Green, Charles. "Polaris (a tragedy expansion pack)." Thesis, University of Iowa, 2019. https://ir.uiowa.edu/etd/6750.

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Books on the topic "Drama Tragedy"

1

Tragedy: A tragedy. London: Oberon, 2001.

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Beddoes, Thomas Lovell. The brides' tragedy. Oxford: Woodstock Books, 1993.

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3

Cyril, Tourneur. The revenger's tragedy. London: Methuen, 1987.

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1938-, Gibbons Brian, ed. The revenger's tragedy. 2nd ed. London: A & C Black, 2002.

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1938-, Gibbons Brian, ed. The revenger's tragedy. London: A & C Black, 1991.

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Cyril, Tourneur. The revenger's tragedy. Birmingham: Quarto Publications, 1987.

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Rotimi, Ola. Kurunmi: An historical tragedy. Nigeria: Oxford University Press, 1985.

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Arthur Miller: Social drama as tragedy. New Delhi: Arnold-Heinemann, 1985.

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9

Greek tragedy. Malden, MA: Blackwell Pub., 2008.

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10

English renaissance tragedy. Houndmills, Basingstoke, Hampshire: Macmillan, 1986.

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Book chapters on the topic "Drama Tragedy"

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Orlin, Lena Cowen. "Domestic Tragedy." In A New Companion to Renaissance Drama, 388–402. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch28.

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Greenberg, Marissa. "Revenge Tragedy." In A New Companion to Renaissance Drama, 403–16. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch29.

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Wharton, T. F. "The Revenger’s Tragedy." In Moral Experiment in Jacobean Drama, 44–56. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-19152-9_4.

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Roche, Anthony. "Murphy’s Drama: Tragedy and After." In Contemporary Irish Drama, 84–129. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1007/978-1-349-58712-4_4.

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MacKinnon, Kenneth. "Filmed Tragedy." In A Handbook to the Reception of Greek Drama, 486–505. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch25.

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Manuwald, Gesine. "Roman Tragedy." In A Handbook to the Reception of Greek Drama, 78–93. Hoboken, NJ: John Wiley & Sons, Inc, 2016. http://dx.doi.org/10.1002/9781118347805.ch5.

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Shilliam, Robbie. "The Drama Viewed from Elsewhere." In Tragedy and International Relations, 172–84. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230390331_13.

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Müller, Klaus Peter. "Cultural Transformations of Subversive Jacobean Drama: Contemporary Sub-Versions of Tragedy, Comedy, and Tragicomedy." In Drama on Drama, 30–58. London: Palgrave Macmillan UK, 1988. http://dx.doi.org/10.1007/978-1-349-25443-9_3.

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Mills, Sophie. "Tragedy and Athens." In Drama, Oratory and Thucydides in Fifth-Century Athens, 45–80. New York : Routledge, 2020. | Series: Routledge monographs in classical studies: Routledge, 2020. http://dx.doi.org/10.4324/9780351260322-2.

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Marsden, Jean I. "Tragedy and Varieties of Serious Drama." In A Companion to Restoration Drama, 228–42. Carlton, Victoria, Australia: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118663400.ch14.

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Conference papers on the topic "Drama Tragedy"

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Vakalou, M. "The Cretan Theatre at the Renaissance era. Approach of the women figures at the dramaturgy of Chortatsis: tragedy, comedy, pastoral drama." In VI Международная научная конференция по эллинистике памяти И.И. Ковалевой. Москва: Московский государственный университет им. М.В. Ломоносова, 2021. http://dx.doi.org/10.52607/9785190116113_117.

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