Relevant bibliographies by topics / Elizabethan tragedies

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  2. Dissertations / Theses
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Academic literature on the topic 'Elizabethan tragedies'

Author: Grafiati
Published: 4 June 2021
Last updated: 7 February 2022

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Journal articles on the topic "Elizabethan tragedies"

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Qizi, Ochilova Maftuna Doniyor. "Repetitions expressing emotions in elizabethan tragedies." ACADEMICIA: AN INTERNATIONAL MULTIDISCIPLINARY RESEARCH JOURNAL 11, no. 2 (2021): 462–65. http://dx.doi.org/10.5958/2249-7137.2021.00387.6.

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Mayne, Emily. "Presenting Seneca in Print: Elizabethan Translations and Thomas Newton’s Seneca His Tenne Tragedies." Review of English Studies 70, no. 297 (April 19, 2019): 823–46. http://dx.doi.org/10.1093/res/hgz022.

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Abstract Seneca His Tenne Tragedies (1581) was the first printed collection of Seneca’s tragedies in English. This article re-examines this publication in the context of early modern production of collected unannotated editions of Seneca’s tragedies on the European mainland, and of the editorial and intellectual interests of its compiler, Thomas Newton. It identifies Newton as something of an early modern ‘print professional’, who was involved in the production of a wide variety of texts, translations, and commendatory poetry, and who used a variety of sophisticated strategies in print to draw attention to and to promote his own capacities and achievements; and it shows how the Tenne Tragedies participates in these practices. Attending to Newton’s activities alongside Jasper Heywood’s translation of Hercules furens reveals significant discontinuities in approach between the Tenne Tragedies and one of its constituent texts. Heywood’s translation first appeared in 1561 in a parallel-text format that was not designed for inclusion in a single-language collection such as the Tenne Tragedies, as one early modern reader’s response to the translation in this later printed context may show. Newton’s presentation of the Tenne Tragedies volume, and his particular attitude towards ‘Seneca’, complicates current critical understanding of the reception and uses of Senecan tragedy in Elizabethan England, and of any ‘project’ of Senecan translation in the period, which may be more an effect of Newton’s editorial proclivities, combined with modern understanding of Seneca as a single author, than reflective of attitudes towards Senecan tragedy in early modern England more generally.
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Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of writing that facilitated the translators’ Latin learning, personal interactions, and political thinking and involvement.
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Nda, Ubong, and Margaret Akpan. "Sophocles and Shakespeare: A Comparative Study of Classical and Elizabethan Tragedies." Greener Journal of Arts and Humanities 1, no. 1 (December 20, 2011): 011–20. http://dx.doi.org/10.15580/gjah.2011.1.gjah-11011.

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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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Amelang, David J. "“A Broken Voice”: Iconic Distress in Shakespeare’s Tragedies." Anglia 137, no. 1 (March 14, 2019): 33–52. http://dx.doi.org/10.1515/ang-2019-0003.

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Abstract This article explores the change in dynamics between matter and style in Shakespeare’s way of depicting distress on the early modern stage. During his early years as a dramatist, Shakespeare wrote plays filled with violence and death, but language did not lose its composure at the sight of blood and destruction; it kept on marching to the beat of the iambic drum. As his career progressed, however, the language of characters undergoing an overwhelming experience appears to become more permeable to their emotions, and in many cases sentiment takes over and interferes with the character’s ability to speak properly. That is, Shakespeare progressively imbued his depictions of distress with a degree of linguistic iconicity previously unheard of in Elizabethan commercial drama. By focusing on the linguistic properties of three passages of iconic distress – Hamlet’s first soliloquy, Othello’s jealous rant, and King Lear’s dying words – this article analyses the rhetorical adjustments Shakespeare undertook in his effort to raise the level of verisimilitude of emotional speech in his plays.1
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Tarlinskaja, Marina. "Kyd and Marlowe’s Revolution: from Surrey’s Aeneid to Marlowe’s Tamburlaine." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 9–27. http://dx.doi.org/10.12697/smp.2013.1.1.02.

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The Early New English iambic pentameter was re-created by Wyatt and Surrey in the first half of the 16th c. Surrey introduced blank iambic pentameter into English poetry, and the first English tragedy, Gorboduc, was written in this versification form. Early New English playwrights were feeling their way into the iambic meter, and wrote “by the foot”: the mean stressing on even syllables reached 90 percent, while on the odd syllables it fell to 5 percent. The authors of first new English tragedies were members of the parliament or the gentlemen of the City Inns, and they wrote for the aristocratic audience and the Court. Their subject matter and their characters matched the verse form: they were stiff and stilted.Marlowe and Kyd represented a new generation of playwrights who wrote for the commercial stage patronized by commoners. Marlowe and Kyd created different sets of plots and personages and a different versification style. Marlowe’s Tamburlaine and Kyd’s The Spanish Tragedy had a powerful impact on generations of English playwrights, from Shakespeare to Shirley. The particulars of the Earlier New English versification style compared to later Elizabethan dramaturgy are discussed in the presentation.
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Braden, Gordon. "Elizabethan Seneca: Three Tragedies. Edited by James Ker and Jessica Winston. Pp. ix + 340. London: Modern Humanities Research Association, 2012 (Tudor and Stuart Translations). Pb. £12.50, ebook £4.99." Translation and Literature 22, no. 2 (July 2013): 272–78. http://dx.doi.org/10.3366/tal.2013.0119.

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Рогатин, В. А. "Features of Dramatic History and Neo-Classicist Elements in Ben Jonson’s Fragment Mortimer His Fall." Иностранные языки в высшей школе, no. 1(52) (June 28, 2020): 26–33. http://dx.doi.org/10.37724/rsu.2020.52.1.004.

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В статье рассматривается дифференциация и эволюция драматических жанров в конце XVI —начале XVII века в репертуаре английских театров. Отправной точкой нашего исследования служит фрагмент в посмертном собрании Бена Джонсона (1572–1637) наброска «Падение Мортимера», о котором издатель сообщает как о пьесе, не завершенной автором и относящейся к последним месяцам его жизни. Жанр елизаветинской трагедии характеризуется нами как относительно стабильный в течение целого десятилетия. Исходя из наличия у большинства этих пьес содержательных, структурных и художественных особенностей, проверяется принадлежность сцен о Мортимере и Эдуарде III к данной традиции. Анализ фабулы и способов раскрытия основного конфликта в контексте творчества Джонсона и в его отношении к современному театру, прежде всего к шекспировским пьесам, показывает, что незаконченная пьеса «Падение Мортимера» могла быть задумана в период относительного затишья в театральной жизни в середине 1610-х годов. В ней настойчиво реализуются принципы неоклассицизма и отхода от смешения стилевых регистров, которые были характерны для исторических хроник. Ограниченный диапазон действующих лиц, присутствие хоров и групповой диалог, отход от психологической трактовки героя и других персонажей — всё это позволяет заключить, что целью Б. Джонсона было возрождение трагического с национальным содержанием в формах, предписанных античностью. Abstract. The object of analysis is the short-lived, yet unique genre of English dramatic history at the turn of the 16th–187th cc. Emerging in the early years of Elizabeth I’s reign, the history served as a secular replacement of medieval mysteries. The chief features linking histories with the familiar genre of the pre-Reformation tradition were as follows: (1) presence of stock characters; (2) transparent message to the broader audience (religious or national); (3) alternation of low and lofty scenes to provide variety and spectacular turns. At the top of its development, in the 1590s, the history obtained stability of content and diction in the series of William Shakespeare’s tetralogies, to which King John and All’s Trues served as a prologue and epilogue. It would be wrong to exclude Ben Jonson, in so many ways linked to Shakespeare’s work and fame, from participation in the genre practice. Even though he did not contribute dramatized chronicles of Britain’s past for the stage, he tried his hand in Roman tragedies and each conformed to at least two of the features above. In close reading of the surviving part of Ben Jonson’s Mortimer His Fall we distinguish an echo of Elizabethan central path in history, yet evidence of increased Classicist tendencies is much stronger, which suggests new grounds for dating this dramatic sketch.
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Pollard, Tanya. "James Ker. and Jessica Winston., eds. Elizabethan Seneca: Three Tragedies. MHRA Tudor and Stuart Translations 8. London: Modern Humanities Research Association, 2012. ix + 340 pp. $20. ISBN: 978–0–947623–98–2." Renaissance Quarterly 66, no. 4 (2013): 1513–14. http://dx.doi.org/10.1086/675203.

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Dissertations / Theses on the topic "Elizabethan tragedies"

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Weber, Minon. "Rediscovering Beatrice and Bianca: A Study of Oscar Wilde’s Tragedies The Duchess of Padua (1883) and A Florentine Tragedy (1894)." Thesis, Stockholms universitet, Engelska institutionen, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-184574.

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Towards the end of the 19th century Oscar Wilde wrote the four society plays that would become his most famous dramatical works: Lady Windermere’s Fan (1892), A Woman of No Importance (1893), An Ideal Husband (1895) and The Importance of Being Earnest (1895). The plays combined characteristic Wildean witticisms with cunning social criticism of Victorian society, using stereotypical characters such as the dandy, the fallen woman and the “ideal” woman to mock the double moral and strict social expectations of Victorian society. These plays, and to an extent also Wilde’s symbolist drama Salomé (1891), have been the object of a great deal of scholarly interest, with countless studies conducted on them from various angles and theoretical perspectives. Widely under-discussed, however, are Wilde’s two Elizabethan-Jacobean tragedies, The Duchess of Padua (1883) and A Florentine Tragedy (1894). This thesis therefore sets out to explore The Duchess of Padua and A Florentine Tragedy in order to gain a broader understanding of Wilde’s forgotten dramatical works, while also rediscovering two of Wilde’s most transgressive female characters—Beatrice and Bianca. Challenging traditional ideas of gender and female sexuality, Beatrice and Bianca can be read as proto-feminist figures who continually act transgressively, using their voice and agency to stand up against patriarchy and asserting their rights to experience their lives on their own terms. Through an in-depth study of these plays, this thesis will demonstrate that Wilde’s Elizabethan-Jacobean tragedies, with their strong, modern female characters Beatrice and Bianca deserve greater critical attention on a par with the extensive scholarship on Wilde’s well-known dramatical works.
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Closel, Régis Augustus Bars 1985. "Diálogos Miméticos entre Sêneca e Shakespeare = As Troianas e Ricardo III." [s.n.], 2011. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270174.

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Orientador: Suzi Frankl Sperber
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-19T08:54:47Z (GMT). No. of bitstreams: 1 Closel_RegisAugustusBars_M.pdf: 2038312 bytes, checksum: 7c1b1af36416b37e4e7597571df3f57d (MD5) Previous issue date: 2011
Resumo: A presente dissertação tem por objetivo propor um diálogo entre duas obras dramáticas de grande significância, Ricardo III e As Troianas, no cânone de seus autores, respectivamente, William Shakespeare (1564 - 1616) e Lucius Annaeus Sêneca (4 a.C - 65 d.C). A premissa inicial é a relação tradicional entre ambos, que atribui ao tragediógrafo elisabetano uma influência textual, temática e estilística originária do filósofo e tragediógrafo latino. Para o estudo dessas relações, limitadas ao escopo de duas obras, o trabalho foi dividido em três partes. No primeiro capítulo é realizado um percurso sobre toda a historiografia da crítica da influência que Sêneca teria exercido sobre os dramaturgos que escreveram durante a segunda metade do século XVI, na Inglaterra. Observa-se, principalmente, como a visão e a metodologia de se tratar o tema da influência se altera, ao longo dos anos, chegando, por exemplo, a ser negada por alguns críticos durante certo tempo, além da observação do delineamento do próprio objeto. Toma-se o cuidado, durante todo o trabalho de não fazer opção a favor ou negar a presença de Sêneca para não incorrer em extremismos. No segundo capítulo, busca-se, com base nos resultados do primeiro capítulo, a leitura histórica dos elementos temáticos e estilísticos lidos como derivados de ou influenciados por Sêneca. Neste ponto o foco distancia-se do campo de discussão crítica do fenômeno para o campo de crítica histórico-literária e os objetos focados, agora, são exatamente aqueles que anteriormente foram levantados como ?"senequianos". No terceiro capítulo, conhecida a história da influência e tendo sido feita uma gama de opções e leituras sobre a época de Shakespeare, inicia-se a leitura das duas obras. Tal abordagem preambular se fez necessária para que houvesse um embasamento tanto da crítica da discussão da influência, como da leitura histórica da cultura que produziu Ricardo III. Foi feita a opção de seguir com a leitura de René Girard sobre os conceitos de Teoria Mimética e Crise de Diferenças, pois tocam em noções basilares do mundo Elisabetano, apresentando, portanto, uma atmosfera na qual os diálogos poderiam situar relações de aproximação e afastamento entre a dupla de obras escolhida. Observa-se uma leitura mítica, muito rica politicamente, ao trabalhar com a história/mito conhecidos por ambas as obras
Abstract: This dissertation aims to propose a dialogue between two dramatic works of great importance, Richard III and Trojan Women, both canonic for their authors, respectively, William Shakespeare (1564 - 1616) and Lucius Annaeus Seneca (4 BC - 65 AD). The initial premise is the traditional relationship between them, which presupposes that the Elizabethan tragedies have textual, thematic and stylistic influence of the Latin philosopher and tragedian. In order to study these relationships, restricted to the scope of the two referred plays, the dissertation was divided into three parts. The first chapter is about Seneca's influence on playwrights who wrote along the second half of the sixteenth century in England. It focuses mainly the vision and methodology used to study the issue of influence and changes of views over the years, reaching, for example, the fact that the influence was denied by some critics for some time. It also observes the outline of the object - the relation between plays - itself. Along these considerations, I was aware that I should not propose or deny the influence of Seneca in order not to incur in extremism. The second chapter, based on the results of the first chapter, seeks to read the historical interpretation of stylistic and thematic elements as derived from or influenced by Seneca. At this point, the analysis moves away from the critical discussion to approach the field of historical and literary criticism. The focused objects are exactly those that have previously been raised as "senequians", like the blank verse, the tyrant and the presence of ghosts. In the third chapter begins the interpretation of both tragedies. This preliminary approach was necessary in order to have a critical foundation for the discussion of influence, as that one produced by historical reading of Richard III. The mimetic theory of René Girard and the Crisis of Differences offered fundamental notions for the Elizabethan world, which presented interlocution between both tragedies, so that it was possible to examine approaches and distances between the two chosen plays. It was observed a very rich mythical and political relation among the plays using the known versions of history/myth
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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FALTOVÁ, Martina. "Láska jako ochota k dialogu v tragédiích Williama Shakespeara." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-381457.

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The thesis Love as Will to Dialogue in William Shakespeare's Tragedies deals with the analysis of selected characters' dialogues found in six William Shakespeare's tragedies. The aim of the thesis is to prove the given assumption of tragic ending caused by emotionally related characters and their mutual lack of communication in each play. The thesis is formally divided into theory and practical analysis. The theory is focused on definition of two major terms dialogue and love, from the view of linguistics, psychology, psychology of communication and philosophy. Following practical analysis offers detailed study of selected dialogues. The last part of the thesis summarizes the main implications found in analysis and proposes possible benefits of the work.
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Books on the topic "Elizabethan tragedies"

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Elizabethan Seneca: Three tragedies. London: Modern Humanities Research Association, 2012.

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Johnson, S. F. Early Elizabethan tragedies of the Inns of Court. New York: Garland Pub., 1987.

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Barber, C. L. Creating Elizabethan tragedy: The theater of Marlowe and Kyd. Chicago: University of Chicago Press, 1988.

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Shakespeare, William. The Tragedie of Romeo & Juliet. New York, USA: Applause, 1998.

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Shakespeare, William. Pericles. London: Routledge, 1990.

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Shakespeare, William. A reconstructed text of Pericles, Prince of Tyre. Oxford: Oxford University Press, 2003.

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Shakespeare, William. Pericles. New York: Penguin USA, Inc., 2009.

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Shakespeare, William. Pericles. San Diego, CA: ICON Classics, 2005.

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Shakespeare, William. Chen zhu ji: Pericles. Taibei Shi: Shi jie shu ju, 1996.

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Shakespeare, William. Periklo. Zagreb: Nakladni Zavod MH, 1987.

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Book chapters on the topic "Elizabethan tragedies"

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Mangan, Michael. "Elizabethan and Jacobean Society." In A Preface to Shakespeare’s Tragedies, 24–31. Routledge, 2014. http://dx.doi.org/10.4324/9781315839738-4.

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Mangan, Michael. "Elizabethan and Jacobean tragedy." In A Preface to Shakespeare’s Tragedies, 58–75. Routledge, 2014. http://dx.doi.org/10.4324/9781315839738-7.

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Wilson, Katharine. "From Arden to America: Lodge’s Tragedies of Infatuation." In Fictions of Authorship in Late Elizabethan Narratives, 138–65. Oxford University Press, 2006. http://dx.doi.org/10.1093/acprof:oso/9780199252534.003.0006.

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Perletti, Greta. "Theatre and Memory: The Body-as-Statue in Early Modern Culture." In Bodies of Stone in the Media, Visual Culture and the Arts. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789089648525_chi01.

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This chapter relates the statue-like bodies of some Elizabethan and early Jacobean plays to the theories about memory and forgetting that were circulating in late sixteenth-century philosophical and medical discourse. In particular, the chapter shows how memory images, which in antiquity played a pivotal role in the art of memory, were represented as inducing a paralysing, statue-like state in living bodies. Shakespeare’s work partakes in this re-assessment of memory images, as words are more powerful memory triggers and carriers than monuments and statues. Moreover, while Shakespeare’s tragedies stage bodies turning into stone because of the destructive fixedness of the past, his late plays manage to set in motion the images produced by memory and by so doing resist death-like paralysis.
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Martin, Randall. "Gunpowder, Militarization, and Threshold Ecologies in Henry IV Part Two and Macbeth." In Shakespeare and Ecology. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199567027.003.0008.

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The disputed land-uses and cultivation practices represented in As You Like It responded to unprecedented changes in Elizabethan climate, population, and economic relations. Traditional modes of rural dwelling were no longer protected by virtue of their rural isolation or autonomy, but were becoming inescapably tied to national and global orders of competitive growth and resource exploitation. Perhaps the most disruptive of these modernizing turns was the development of gunpowder technologies and the armament industry. As in other western European countries, military culture became ubiquitous in England by the late sixteenth century as a result of innovations in gunpowder weapons and the formation of national armies. During the Middle Ages, low-tech weaponry and feudal mobilization had limited the social and environmental impacts of war. This situation began to change from the fifteenth century onwards with the development of far more deadly cannons, mines, and firearms. Influenced partly by the Erasmian ethics of his Humanist education (like Queen Elizabeth and King James in their attitudes to war), Shakespeare drew attention to gunpowder’s devastating effects on human and non-human animals and their environments in virtually all his history plays and several of his tragedies, even thoughmost of these references were anachronistic. By layering historical and contemporary viewpoints he registered changing material realities and cultural assumptions about the ecology of war: from self-regulating cycles of martial destruction and agrarian regeneration, to incremental technological mastery reliant on ever-increasing resource consumption. Traditional ideas about redeeming war through cultivation are captured by the Virgilian image of beating swords into ploughshares. It suggests that peacetime cultivation will heal wartime damage, and that periods of war and peace routinely alternate. The swordsinto-ploughshares trope also encodes temporal assumptions that the arc of catastrophe, in its political, ecological, and dramatic senses, is limited in scope and ultimately reversible. In this chapter I want to examine the emerging gunpowder regime putting pressure on this paradigm, and replacing it with modern structures of recoiling environmental risk and planetary push-back, represented in Henry IV Part Two and Macbeth respectively.
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"The Tragedie of Mariam OF MARIAM, THE FAIRE Queene of lewry." In Works by and attributed to Elizabeth Cary, 1–71. Routledge, 2016. http://dx.doi.org/10.4324/9781315233390-1.

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"RE-READING ELIZABETH CARY'S THE TRAGEDIE OF MARIAM, FAIRE QUEENE OF JEWRY." In Women, 'Race' and Writing in the Early Modern Period, 169–83. Routledge, 2013. http://dx.doi.org/10.4324/9780203388891-16.

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Prins, Yopie. "Introduction." In Ladies' Greek. Princeton University Press, 2017. http://dx.doi.org/10.23943/princeton/9780691141893.003.0001.

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This book examines why Victorian women of letters such as Elizabeth Barrett Browning, Sara Coleridge, and Virginia Woolf self-consciously performed collective identification with Greek letters and showed literary interest in their translations of with Greek tragedy. It considers how these women engaged with ideas about classical antiquity, and how much they contributed to the idealization of all things Greek. It discusses the ways in which women learned to read the Greek alphabet, to discover all the letters between alpha and omega, and how they turned ancient Greek into a language of and for desire. The book argues that nineteenth-century women writers turned to tragedy in particular as a literary genre for the performance of female classical literacy, and that their passionate reading of Greek led them into various forms of translation. Five tragedies are analyzed to elucidate the legacy of Ladies' Greek: Agamemnon and Prometheus Bound, Electra, Hippolytus, and Bacchae.
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