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Journal articles on the topic 'French drama (Tragedy) Drama'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

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

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2

Damen, Mark. "French Scenes in Greek Tragedy: The Scenic Structure of Classical Drama." Theatre Journal 55, no. 1 (2003): 113–34. http://dx.doi.org/10.1353/tj.2003.0014.

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3

Arzikulova, Khurshida. "NATIONALISM OF THE HEROES OF THE TRAGEDY COMEDY “SID”." INTERNATIONAL JOURNAL OF WORD ART 6, no. 3 (2020): 213–19. http://dx.doi.org/10.26739/2181-9297-2020-6-29.

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This article shows the heroes of the tragicomedy “Sid” by Pierre Cornell, the great representative of the XVII the century French drama, fulfilling their duty to the family and the homeland, despite the fact that they lost their love. The patriotism of the protagonists shows that Don Rodrigo and Jimena have both fall in love and fulfilled their duty to their families.

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4

Reid, Donald. "First as Tragedy, Then as Television Series: Teaching the Presentation of History in A French Village." Teaching History: A Journal of Methods 46, no. 1 (2021): 2–9. http://dx.doi.org/10.33043/th.46.1.2-9.

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Americans and Europeans increasingly look to the television drama series for their historical education, whether about Chernobyl or the struggle to pass the Equal Rights Amendment. We have long shown documentaries to students and fact-checked docudramas and dramatic films set in the past, but the television drama series offers new opportunities and challenges. The extended viewing time and the sustained involvement the audience has with a television drama series distinguishes it from documentaries, docudramas, and dramatic films. While there is an extensive literature on the presentation of hi

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5

Dinega, Alyssa W. "Ambiguity as Agent in Pushkin's and Shakespeare's Historical Tragedies." Slavic Review 55, no. 3 (1996): 525–51. http://dx.doi.org/10.2307/2501999.

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The question of Shakespeare's influence on Pushkin's work in the period beginning 1824-25 has often been examined in critical works on Pushkin. This influence has generally been construed as one of the decisive factors in Pushkin's poetic and personal maturation away from his early naive Byronism. At the same time, Pushkin found in Shakespeare a release from the outworn conventions of French classical drama that had until then provided the precepts for writers for the Russian stage. For Pushkin, two specific features of Shakespearean drama were congenial: the abandonment of the three classical

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6

Hillman, Richard. "Staging romance across the Channel: French–English exchanges and generic common ground." Cahiers Élisabéthains: A Journal of English Renaissance Studies 99, no. 1 (2019): 33–44. http://dx.doi.org/10.1177/0184767819835566.

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This article explores a number of neglected cross-connections between English romantic drama from about 1585 to 1615, notably including Shakespeare’s last plays, and the French tragicomic tradition as it evolved prior to and beyond these dates. I suggest that dramatic and non-dramatic French models played a considerable part alongside Italian ones in stimulating development of what might be termed ‘tragedy with a happy ending’ in England, and that English texts, in turn, fed back into French practice. Attention is given to the precedent for key aspects of Pericles provided by François de Belle

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7

Astbury, K. "Tragedy Walks the Streets. The French Revolution in the Making of Modern Drama." French History 21, no. 4 (2007): 479–80. http://dx.doi.org/10.1093/fh/crm062.

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8

Andress, David. "Tragedy Walks the Streets; The French Revolution in the Making of Modern Drama." Journal of Early Modern History 11, no. 3 (2007): 245–46. http://dx.doi.org/10.1163/157006507781147498.

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9

Fordyce, Ehren. "Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama (review)." Modern Drama 50, no. 2 (2007): 287–90. http://dx.doi.org/10.1353/mdr.2007.0039.

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10

Klik, Marcin. "Metamorphoses of Oedipus in Modern French Literature. From an Intellectual Drama to a Psychoanalytical Reflection on Ideal Love." Interlitteraria 25, no. 1 (2020): 170–84. http://dx.doi.org/10.12697/il.2020.25.1.15.

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Oedipus Rex, a tragedy created twenty-five centuries ago, is still a source of inspiration for many writers. However, the overall message of modern interpretations of the Oedipus myth differs considerably from the message of Sophocles’ play; these works are no longer the stories of a man punished by gods for his haughtiness (hybris). André Gide modernizes Sophocles’ tragedy, transforming it into a lesson in secular humanism. The play by Jean Cocteau focuses on the transition from ignorance to awareness. Alain Robbe-Grillet creates an anti-story about the contemporary version of Oedipus, whose

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11

Leonard, Miriam. "TRAGEDY AND THE SEDUCTIONS OF PHILOSOPHY." Cambridge Classical Journal 58 (November 26, 2012): 145–64. http://dx.doi.org/10.1017/s1750270512000048.

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Since antiquity, Greek tragedy has continually preoccupied philosophers. From Plato and Aristotle, to Hegel and Nietzsche, many of the most interesting ideas in the history of thought have been developed through a dialogue with tragedy. This article explores the continuities and ruptures between Plato and Aristotle's reading of tragedy and the so-called “philosophy of the tragic” which emerged in the late eighteenth century. The influence of this modern tradition has been so profound that, even today, no reading ofAntigone, ofOedipusor of theBacchaeis not also, at least unconsciously, in dialo

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12

Roediger, David. "Race and the Working-Class Past in the United States: Multiple Identities and the Future of Labor History." International Review of Social History 38, S1 (1993): 127–43. http://dx.doi.org/10.1017/s0020859000112337.

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The most magnificent drama in the last thousand years of human history is the transportation of ten million human beings out of the dark beauty of their mother continent into the new-found Eldorado of the West. They descended into Hell; and in the third century they arose from the dead, in the finest effort to achieve democracy for the working millions which this world had ever seen. It [post-Civil War Reconstruction in the U.S.] was a tragedy that beggared the Greek; it was an upheaval of humanity like the Reformation and the French Revolution. Yet we are blind and led by the blind. We discer

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13

McCallam, David. "Tragedy Walks the Streets: The French Revolution and the Making of Modern Drama - By Matthew S. Buckley." Journal for Eighteenth-Century Studies 32, no. 2 (2009): 257–58. http://dx.doi.org/10.1111/j.1754-0208.2008.00067.x.

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14

Braider, Christopher. "The Veritable Véritable Saint Genest: Tragedy and Martyr Play in Jean Rotrou." Modern Language Quarterly 79, no. 1 (2018): 25–52. http://dx.doi.org/10.1215/00267929-4264258.

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Abstract Students of seventeenth-century French drama offer oddly truncated readings of Jean Rotrou’s Véritable Saint Genest. Fascinated by the play within a play in which the eponymous saint is converted to a Christian martyr’s faith by performing a Christian martyr’s role, scholars focus on acts 2 through 4, where the play in question is rehearsed and staged. However, overlooking the frame in acts 1 and 5, where the subject of the interior play is chosen and the problematic consequences of the actor’s conversion are laid out, obscures Rotrou’s true theme, which is neither of those convention

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15

Kropacheva, Kseniya Aleksandrovna. "The establishment of literary canon of French dramaturgy of the XVI century." Litera, no. 10 (October 2020): 1–7. http://dx.doi.org/10.25136/2409-8698.2020.10.33800.

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This article reviews gradual development of the literary canon of French theater of the Renaissance Era, which in many ways predetermined the emergence and further evolution of classicistic dramaturgy. The subject of this research is the principles of dramaturgical art formulated by the poets and theoreticians of the XVI century within the framework of poetic texts and treatises. The goal consists in description of the stages in establishment of the theatrical canon in France of the Renaissance Era, juxtapose its principles to the medieval theater, determine to which stage is attributed the em

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16

STEVENS, BLAKE. "Transpositions of Spectacle and Time: The Entr'acte in theTragédie en musique." Eighteenth Century Music 11, no. 1 (2014): 11–29. http://dx.doi.org/10.1017/s1478570613000353.

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ABSTRACTThe entr'acte in thetragédie en musiqueis the site of compelling yet often overlooked musical and dramaturgical activity. The term refers to both spatial and musical categories: the space between acts in which rapid and potentially astonishing set changes occur and the instrumental music that accompanies these transformations. Practices in French classical tragedy established a precedent for opera; largely observing the ‘unity of place’ after 1640, spoken tragedy included brief instrumental interludes between acts while the stage remained unoccupied. These intervals punctuated the acti

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Braund, Susanna. "TABLEAUX AND SPECTACLES: APPRECIATION OF SENECAN TRAGEDY BY EUROPEAN DRAMATISTS OF THE SIXTEENTH AND SEVENTEENTH CENTURIES." Ramus 46, no. 1-2 (2017): 135–52. http://dx.doi.org/10.1017/rmu.2017.7.

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Did Sophocles or Seneca exercise a greater influence on Renaissance drama? While the twenty-first century public might assume the Greek dramatist, in recent decades literary scholars have come to appreciate that the model of tragedy for the Renaissance was the plays of the Roman Seneca rather than those of the Athenian tragedians. In his important essay on Seneca and Shakespeare written in 1932, T.S. Eliot wrote that Senecan sensibility was ‘the most completely absorbed and transmogrified, because it was already the most diffused’ in Shakespeare's world. Tony Boyle, one of the leading rehabili

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18

Shevtsova, Maria. "The Sociology of the Theatre, Part Two: Theoretical Achievements." New Theatre Quarterly 5, no. 18 (1989): 180–94. http://dx.doi.org/10.1017/s0266464x00003079.

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In the first part of this three-part series. Maria Shevtsova discussed the misconceptions and misplacement of emphases which have pervaded sociological approaches to theatre, and proposed her own methodology of study. Here, she examines in fuller detail two aspects of her taxonomy which have an existing sociological literature – looking first at dramatic theory, as perceived by its sociological interpreters from Duvignaud onwards and (perhaps more pertinently) backwards, to Gramsci and Brecht. She then considers approaches to dramatic texts and genres, especially as exemplified in the explicat

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19

Asoyan, A. A., and A. Yu Asoyan. "Shakespeare & Pushkin." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 139–45. http://dx.doi.org/10.25205/2410-7883-2019-1-139-145.

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Modern researchers pay attention first of all to the typological connections of Pushkin's works, but it seems to us that the productive method of studying the similarity of English-Russian communications in this context is not associated with specific figurative-thematic or genrethematic calls, not with the commonality of individual motifs and, finally, not with the concepts of the Russian poet’s responses to specific works of the English bard, but with the genetic textand meaning-generating links of the Russian poet’s creativity with Shakespeare’s poetics in nuce. No wonder M. P. Alekseev not

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20

Zatonskaya, Olga V. "SAMUEL BECKETT’S GERMAN INCLINATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 3 (2021): 65–73. http://dx.doi.org/10.28995/2686-7249-2021-3-65-73.

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The article’s topic is formation of the artistic world of S. Beckett. Along with such factors of the “education” of the Irish writer as the world of the ideas and novels of D. Joyce, as a close acquaintance with traditions of the French drama and poetics of the “absurd” that he himself formed, the influence of the German culture and literature was an important aspect of his becoming a writer. German literature inspired Beckett by phenomena of the everyday culture, language, and the works and philosophical ideas of such thinkers as Schopenhauer, Nietzsche and Hölderlin. From them S. Beckett per

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21

Frappier, Louise. "Traduire, imiter et réécrire Agamemnon à la Renaissance : les tragédies de Charles Toutain (1556), Roland Brisset (1589) et Pierre Matthieu (1589)." Renaissance and Reformation 40, no. 3 (2017): 265–82. http://dx.doi.org/10.33137/rr.v40i3.28744.

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Le théâtre de Sénèque a exercé une influence majeure sur le développement de la tragédie française au XVIe siècle. Sa tragédie Agamemnon est ainsi à l’origine des pièces de Charles Toutain, Roland Brisset et Pierre Matthieu. D’un auteur à l’autre, l’écart avec le texte-source devient toutefois de plus en plus important. D’abord entreprise, chez Toutain, avec le souci d’enrichir la langue française, la traduction se fait davantage imitation chez Brisset, dans l’objectif d’instruire le public en lui offrant à méditer le destin malheureux des Grands. La pièce de Matthieu propose quant à elle une

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22

Nielsen, Wendy C. "Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama. Matthew S. Buckley . Baltimore: Johns Hopkins University Press, 2006. Pp. vii+191." Modern Philology 107, no. 3 (2010): E71—E74. http://dx.doi.org/10.1086/650523.

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23

Bradby, David, and Patrice Chéreau. "Bernard-Marie Koltès: Chronology, Contexts, Connections." New Theatre Quarterly 13, no. 49 (1997): 69–90. http://dx.doi.org/10.1017/s0266464x00010812.

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The plays of Bernard-Marie Koltès have been phenomenally successful, not just in Europe, but worldwide – his last work before his death in 1989, Roberto Zucco, having been performed in seventeen countries. Despite an early production of Twilight Zone by Pierre Audi at the Almeida Theatre in 1981, English appreciation has been tardy, but now this situation is set to change, with the Royal Court Theatre commissioning Martin Crimp to make a translation of Roberto Zucco, to be directed by James Macdonald, and Methuen bringing out a volume of Koltès's plays. These present a unique fusion of the Fre

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24

Sardin, Pascale. "Reading and Interpreting Variants inCome and Go,Va-et-vientandKommen und Gehen." Journal of Beckett Studies 24, no. 1 (2015): 75–86. http://dx.doi.org/10.3366/jobs.2015.0121.

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This paper focuses on textual variants in Come and Go, Va-et-vient and Kommen und Gehen and considers these variants as thresholds (Genette, 1997) into these works. This paper aims to show how Beckett's self-translating process, which was prolonged and complicated in the case of his plays when he directed them himself, produces a number of possible textual confusions, but also how these complications constitute insight into the Beckettian text. Indeed variants and rewritings point to moments in the writing and rewriting process when Beckett met ‘resistant vitalities’ mentioned by George Steine

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25

Darlow, Mark. "Book Review: Tragedy Walks the Streets: The French Revolution in the Making of Modern Drama. By Matthew S. Buckley. Baltimore, MD: Johns Hopkins University Press. 2006. Pp. ix + 191. £33.50." Journal of European Studies 38, no. 1 (2008): 76–77. http://dx.doi.org/10.1177/00472441080380010404.

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26

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

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27

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 h

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28

Jackson, Lucy. "Proximate Translation: George Buchanan's Baptistes, Sophocles’ Antigone, and Early Modern English Drama." Translation and Literature 29, no. 1 (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

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29

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 in

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30

Chodkowski, Robert R. "Aristotle’s Poetics versus Modern Theories of Drama." Roczniki Humanistyczne 66, no. 3 SELECTED PAPERS IN ENGLISH (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

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31

PRITCHARD, DAVID M. "Athletics in Satyric Drama." Greece and Rome 59, no. 1 (2012): 1–16. http://dx.doi.org/10.1017/s0017383511000210.

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Satyric drama introduced athletics much more regularly as an activity than either comedy or tragedy. Many of its villains defeated hapless travellers in a boxing or wrestling bout before murdering them. Satyr-plays were often set at athletic contests where the satyrs of the chorus encountered athletes or tried to be competitors themselves. In one of his plays Euripides provided the most detailed critique of athletes in any genre of classical Athenian literature.

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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 (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 writ

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33

Jones, Richard, and Barbara Goff. "History, Tragedy, Theory: Dialogues on Athenian Drama." Classical World 91, no. 5 (1998): 437. http://dx.doi.org/10.2307/4352136.

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34

Brogan, Walter A. "Is Platonic Drama the Death of Tragedy?" International Studies in Philosophy 23, no. 2 (1991): 75–82. http://dx.doi.org/10.5840/intstudphil199123254.

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35

Hawes, Derek. "Euro tragedy: a drama in nine acts." Journal of Contemporary European Studies 28, no. 2 (2020): 279–80. http://dx.doi.org/10.1080/14782804.2020.1753346.

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36

Congdon, Lee. "For neoclassical tragedy: György Lukács’s drama book." Studies in East European Thought 60, no. 1-2 (2008): 45–54. http://dx.doi.org/10.1007/s11212-008-9041-3.

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37

Thompson, Juli A., and David Bradby. "Modern French Drama 1940-1980." Theatre Journal 37, no. 3 (1985): 383. http://dx.doi.org/10.2307/3206870.

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38

Callen, A., and David Bradby. "Modern French Drama 1940-1980." Modern Language Review 81, no. 2 (1986): 495. http://dx.doi.org/10.2307/3729767.

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39

Sorrell, Martin. "Landmarks of French Classical Drama." Modern Language Review 88, no. 2 (1993): 461. http://dx.doi.org/10.2307/3733820.

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Sorrell, Martin, and David Bradby. "Modern French Drama: 1940-1990." Modern Language Review 88, no. 2 (1993): 480. http://dx.doi.org/10.2307/3733840.

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41

Melzer, S. E. "Orientalism in French Classical Drama." Modern Language Quarterly 65, no. 4 (2004): 616–18. http://dx.doi.org/10.1215/00267929-65-4-616.

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42

Maskell, D. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (2003): 121–22. http://dx.doi.org/10.1093/nq/50.1.121.

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43

Morot-Sir, Edouard, and David Bradby. "Modern French Drama 1940-1980." World Literature Today 59, no. 4 (1985): 570. http://dx.doi.org/10.2307/40141954.

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44

Knapp, Bettina L., and David Bradby. "Modern French Drama 1940-1990." World Literature Today 66, no. 3 (1992): 483. http://dx.doi.org/10.2307/40148394.

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45

Maskell, David. "Orientalism in French Classical Drama." Notes and Queries 50, no. 1 (2003): 121–22. http://dx.doi.org/10.1093/nq/500121.

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46

Parish, Richard, Michèle Longino, and Michele Longino. "Orientalism in French Classical Drama." Modern Language Review 99, no. 1 (2004): 193. http://dx.doi.org/10.2307/3738906.

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47

Kropova, Daria Sergeevna. "From Greek Tragedy To Opera-Film." Journal of Flm Arts and Film Studies 7, no. 2 (2015): 62–72. http://dx.doi.org/10.17816/vgik7262-72.

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There are some common features between opera (film-opera and theater-opera) and the Greek tragedy. Hereafter a question arises: why theoreticians and artists try to revive tragedy - what is so important in ancient drama that remains actual up to date? The author argues, that musical drama (opera) is the successor to the Greek tragedy, whereas cinema exposes musical and ancient nature of the opera clearer, than theater. The author dwells upon new possibilities of opera: different ways ofcooperation between musical and visual constituents, differences between stage and screen operas; advantages

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48

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 (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 indep

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김동욱. "The Tragic Vision in Greek Tragedy, Shakespearean Tragedy and Noh Drama." Shakespeare Review 46, no. 2 (2010): 385–411. http://dx.doi.org/10.17009/shakes.2010.46.2.009.

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50

Fitch, John, and Siobhan McElduff. "CONSTRUCTION OF THE SELF IN SENECAN DRAMA." Mnemosyne 55, no. 1 (2002): 18–40. http://dx.doi.org/10.1163/156852502753776939.

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Abstract:

The characters of Senecan tragedy are more inward-looking than those of Greek tragedy. One aspect of their inwardness lies in their fierce attempts to define and assert identities for themselves, through their names, actions, family history, mythical precedents, social roles etc. These self-assertions are driven by desire in many forms, chiefly desire for recognition by others, and are closely connected with the tragic outcomes of the dramas. One section of the article is devoted to Oedipus, who insists on identifying with his guilty deeds despite his innocence of intention; another to Phaedra

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