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Books on the topic 'Elizabethan tragedies'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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1

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

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2

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

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3

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

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4

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

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5

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

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6

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

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7

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

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8

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

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9

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

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10

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

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11

Shakespeare, William. Pericles. London: Arden Shakespeare, 2004.

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12

Shakespeare, William. Pericles. London: Arden Shakespeare, 2000.

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13

Shakespeare, William. Pericles: Prince of Tyre. New York: Penguin Books, 2001.

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14

Shakespeare, William. Pericles, prince of Tyre: Cymbeline ; The Two noble kinsmen (with John Fletcher). New York: Penguin, 1988.

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15

Shakespeare, William. A reconstructed text of Pericles, Prince of Tyre. Oxford: Oxford University Press, 2004.

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16

Shakespeare, William. Pericles, Pince of Tyre. New York: Washington Square Press, 2005.

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17

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

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18

Shakespeare, William. Pericles: Prince of Tyre. Cambridge: Cambridge University Press, 2009.

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19

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

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20

Shakespeare, William. Pericles, Prince of Tyre. Cambridge: Cambridge University Press, 1998.

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21

Shakespeare, William. Pericles, Prince of Tyre. London: Penguin Books, 1996.

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22

Shakespeare, William. Pericles, Prince of Tyre: Modern text with introduction. Lanham, MD: University Press of America, 1987.

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23

Shakespeare, William. Perikles. Erevan: "Aṛeresum"-ANI Hratarakchʻakan Hamalir, 1997.

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24

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

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25

Five Elizabethan Tragedies. Pomona Press, 2006.

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26

Keith, Sturgess, and Heywood Thomas d. 1641, eds. Three Elizabethan domestic tragedies. Harmondsworth, Middlesex, England: Penguin Books, 1985.

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27

Elizabethan Tragedies: A Basic Anthology. Dover Publications, Incorporated, 2017.

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28

Shakespeare, William. Tragedias / Tragedies. Oceano De Mexico, 2000.

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29

Hanabusa, Chiaki. Two Lamentable Tragedies. Manchester University Press, 2013.

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30

Colin, Gibson, ed. Six Renaissance tragedies. London: MacMillan, 1997.

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31

Shakespeare's Concept of Tragedy: The Bard As Anti-Elizabethan. Regnery Publishing, 1986.

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32

Tragedies of the English Renaissance: An Introduction. Edinburgh University Press, 2018.

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33

Stanivukovic, Goran, and John H. Cameron. Tragedies of the English Renaissance: An Introduction. Edinburgh University Press, 2018.

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34

Shakespeare, William. Tragedies. Adamant Media Corporation, 2001.

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35

Three Elizabethan Domestic Tragedies: Arden of Faversham; a Yorkshire Tragedy; a Woman Killed with Kindness. Penguin Books, Limited, 2012.

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36

Felperin, Howard. Shakespearean Representation: Mimesis and Modernity in Elizabethan Tragedy. Princeton University Press, 2015.

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37

Felperin, Howard. Shakespearean Representation: Mimesis and Modernity in Elizabethan Tragedy. Princeton University Press, 2015.

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38

Felperin, Howard. Shakespearean Representation: Mimesis and Modernity in Elizabethan Tragedy. Princeton University Press, 2016.

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39

Felperin, Howard. Shakespearean Representation: Mimesis and Modernity in Elizabethan Tragedy. Princeton University Press, 2015.

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40

Redenius, Nils-henje. Tragedies from the Seams of Modernity: Readings of Five Plays from Kyd to Webster. Peter Lang Pub Inc, 2005.

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41

Tragedies from the Seams of Modernity: Readings of Five Plays from Kyd to Webster. Peter Lang Publishing, 2005.

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42

Zimmerman, Susan. The Early Modern Corpse and Shakespeare's Theatre. Edinburgh University Press, 2005.

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43

Zimmerman, Susan. The Early Modern Corpse and Shakespeare's Theatre. Edinburgh University Press, 2007.

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44

Magnusson, Lynne. Shakespearean Tragedy and the Language of Lament. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.8.

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This chapter identifies the passionate lament as one of the characteristic speech genres of tragedy. It suggests that Shakespeare’s exploratory engagement with the rhetoric of grief is as important as his interest in the soliloquy, the speech genre more usually cast as the typifying linguistic innovation of his tragedies. Five aspects of this rhetoric of grief are addressed in turn by means of examples drawn from Titus Andronicus, Richard III, Hamlet, and the Quarto Lear: that is, (1) the lament as grandiloquent set speech developing conventions from Seneca and Elizabethan dramatic tradition, (2) as occasion for copious variation and oratorical persuasion developing the educational capital of grammar-school rhetorical training, (3) as dialogic interaction exploring a potentially transformative pragmatics of pity or sympathetic identification, (4) as imitated passion of classical predecessors creating effects of individuated subjectivity, and (5) as transaction with the theatre audience.

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45

Kerrigan, John. Shakespeare's Originality. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198793755.001.0001.

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How original was Shakespeare and how was Shakespeare original? This book sets about answering these questions by putting them in historical context and investigating how the dramatist worked with his sources: plays, poems, chronicles, and prose romances. Shakespeare’s Originality unlocks its topic by showing through a series of case studies that range across the output—from the mature comedies to the great tragedies, from Richard III to The Tempest—what can be learned about the artistry of the plays and the nature of early modern authorship by thinking about these sources (including newly identified ones) after several decades of neglect. Discussion is enriched by such matters as Elizabethan ruffs and feathers, actors’ footwork, chronicle history, adaptations, notable performances, debts to classical tragedy, scepticism, magic and science, the agricultural revolution, and ecological catastrophe. This work is intended to be accessible to the general reader as well as a resource for students.

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46

Lake, Peter. Tragedy and Religion. Edited by Michael Neill and David Schalkwyk. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780198724193.013.11.

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In the post-Reformation period the relationships between revenge and justice and between revenge and political resistance became newly pressing and problematic. This chapter argues that in his two revenge tragedies of the Elizabethan fin de siècle, Titus Andronicus and Hamlet, Shakespeare stages those relationships and the concomitant difficulties. In each case he was arguably using the temporal and geographical distance afforded him by the play's setting—in the case of Titus, a remote, wholly pagan, and entirely made-up Rome, and in the case of Hamlet an entirely foreign and temporally remote (albeit also remarkably contemporary) Denmark—in order to address questions that in the context of a play about recent English history might have proven a little too close to home. The two plays share certain central characteristics—Hamlet indeed might well be read as something of a reworking of Titus—and this chapter proceeds through a comparison between the two, organized around the central triad of revenge, religion, and resistance.

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47

Shakespeare, William. Tragedias. Grupo Oceano, 2000.

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48

Byron, Glennis. Dracula: Bram Stoker (New Casebooks). Palgrave Macmillan, 1999.

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49

Dracula. Palgrave Macmillan, 1998.

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50

Majumder, Doyeeta. Tyranny and Usurpation. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781786941688.001.0001.

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This book examines the fraught relationship between the sixteenth-century formulations of the theories of sovereign violence, tyranny and usurpation and the manifestations of these ideas on the contemporary English stage. It will attempt to trace an evolution of the poetics of English and Scottish political drama through the early, middle, and late decades of the sixteenth-century in conjunction with developments in the political thought of the century, linking theatre and politics through the representations of the problematic figure of the usurper or, in Machiavellian terms, the ‘New Prince’. While the early Tudor morality plays are concerned with the legitimate monarch who becomes a tyrant, the later historical and tragic drama of the century foregrounds the figure of the illegitimate monarch who is a tyrant by default. On the one hand the sudden proliferation of usurpation plots in Elizabethan drama and the transition from the legitimate tyrant to the usurper tyrant is linked to the dramaturgical shift from the allegorical morality play tradition to later history plays and tragedies, and on the other it is reflective of a poetic turn in political thought which impelled political writers to conceive of the state and sovereignty as a product of human ‘poiesis’, independent of transcendental legitimization. The poetics of political drama and the emergence of the idea of ‘poiesis’ in the political context merge in the figure of the nuove principe: the prince without dynastic claims who creates his sovereignty by dint of his own ‘virtu’ and through an act of law-making violence.

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