Academic literature on the topic 'French tragedy'
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Journal articles on the topic "French tragedy"
Hammond, N. "French Origins of English Tragedy." French Studies 66, no. 4 (October 1, 2012): 552–53. http://dx.doi.org/10.1093/fs/kns183.
Full textHellemans, A. "ASTRONOMY:New Tragedy Hits French Observatory." Science 286, no. 5449 (December 24, 1999): 2432b—2433. http://dx.doi.org/10.1126/science.286.5449.2432b.
Full textHillman (book author), Richard, and Glenn Clark (review author). "French Origins of English Tragedy." Renaissance and Reformation 36, no. 3 (December 2, 2013): 169–71. http://dx.doi.org/10.33137/rr.v36i3.20557.
Full textGilman, Donald, and Gillian Jondorf. "French Renaissance Tragedy: The Dramatic Word." Sixteenth Century Journal 23, no. 3 (1992): 632. http://dx.doi.org/10.2307/2542542.
Full textHowe, Alan, and Gillian Jondorf. "French Renaissance Tragedy: The Dramatic Word." Modern Language Review 87, no. 4 (October 1992): 976. http://dx.doi.org/10.2307/3731485.
Full textGausz, 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.
Full textFrisch, A. "French Tragedy and the Civil Wars." Modern Language Quarterly 67, no. 3 (August 18, 2006): 287–312. http://dx.doi.org/10.1215/00267929-2006-001.
Full textVandiver, Frank E., and George H. Cassar. "The Tragedy of Sir John French." Military Affairs 51, no. 4 (October 1987): 214. http://dx.doi.org/10.2307/1987973.
Full textHyatt, A. M. J., and George H. Cassar. "The Tragedy of Sir John French." American Historical Review 91, no. 2 (April 1986): 403. http://dx.doi.org/10.2307/1858202.
Full textRothschild, E. "A Horrible Tragedy in the French Atlantic." Past & Present 192, no. 1 (August 1, 2006): 67–108. http://dx.doi.org/10.1093/pastj/gtl001.
Full textDissertations / Theses on the topic "French tragedy"
Mackervoy, Susan Denise. "Schiller and French classical tragedy." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357834.
Full textVedrenne, Laetitia. "Gender and power : representations of dido in French tragedy, 1558-1673." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/2037/.
Full textAl-Soudi, Siaf Y. "Antithesis and oxymoron in early Cornelian tragedies : Médée, Le Cid, Horace, Cinna /." free to MU campus, to others for purchase, 1999. http://wwwlib.umi.com/cr/mo/fullcit?p9953842.
Full textWilson, Kristi M. "Euripideanism : Euripides, orientalism and the dislocation of the western self /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 1999. http://wwwlib.umi.com/cr/ucsd/fullcit?p9951425.
Full textLa, Taille Jean de 1533?-1611 or 12, E. C. (Elliott Christopher) 1924 Forsyth, and des textes francais modernes (Paris France) Societe. "Tragedies, Saul le furieux ; La Famine, ou les Gabeonites : Edition critique / par Elliott Forsyth." Paris: Societe des textes francais modernes, 1998. http://hdl.handle.net/2440/38643.
Full textAlso submitted by the editor as part of application for candidature for the degree of Doctor of Letters, University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006.
Includes bibliographical references (p. 169-174) and index.
lxxix, [183] p.:
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Ryan, Angela. "L’Héroïne absente : la tragédie comme inscription culturelle." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040061.
Full textDoes the tragic heroine play the same Aristotelian role as the hero? Six plays are examined: Euripides’ Andromache, Iphigeneia in Aulis and Hippolytos, and Racine’s Andromaque, Iphigénie and Phèdre et Hippolyte.The three pairs of heroines, considered in turn, have specific limits to their capacity for direct heroic action, compared to typical heroes. At the same time, their presence and actions, even constrained, open the question of women’s condition – which the Greeks were the first to conceptualise, and which the French XVIIth c. also foregrounded, at least for educated women. The fourth chapter looks at some further examples of heroines, illustrating aspects of their representation in tragedy.Fifthly is considered the impact, of the presence and absence of the tragic heroine, on tragedy as a form of cultural inscription which has contributed to the evolution of the imaginaire. Different aspects of the Aristotelian model of tragedy such as muthos, hamartia, hubris, anagnorisis, catharsis are explored in terms of how the tragic heroine represents these functions.The conclusions reflect on the cultural transmission of the heroine from myth to epic, cult, the tragedy of antiquity and of French classicism, to contemporary forms). A recent linguistics theory, the X-bar theory is mentioned as a possible cognitive model to conceptualise this continuity in discontinuity, through societies which have so differently validated the female, but may all have been affected by the performative heroine. The author’s own theory of structure and counterstructure is a possible model for observing the evolution of men-women relations, beyond polarising or binary-oppositional cognitive frames. Finally, “heroine studies” are a possible fruitful research area for literature and cultural studies
Zoubovitch, Olga. "Le tragique comme catégorie critique dans la pensée littéraire française du XXème siècle." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040115.
Full textThe category of tragedy is usually linked with tragedy as a literary and theatrical type. In reality, it is a category embracingall types of arts. Besides, it is the object of different sciences: philosophical, literary, theatrical.Firstly, our reflexion will be focused on tragedy as vision of the world, as category at the same time, as illustratedby Lucien Goldmann, of theoretical, emotional order. Tragedy is unthinkable without its relation to the value system.Secondly, we will study tragic conflict at the root of this vision as insolvable conflict between the man and the world, thebeing and existence. During our review of the tragic vision, we will show his kinship with the existentialist vision aspresented in Albert Camus's work.Our study will address various aspects of the tragedy in particular: its nature, the opposition of the tragic vision tothe rationalist vision, the conditions for the appearance of the tragic, its relationship with the Myth and optimism-pessimismcategories, the question of the eventual disposition of the tragic etc.We will examine tragedy under the light of theoretical concepts of the authors of our critical corpus, in forms whichit takes in Greek tragedy, tragedy of Racine, in novel of Dostoïevski and in the Camus's work
Pereira, Vera Lucia Crepaldi 1945. "O mito de Ifigênia no teatro : Eurípides, Racine e Michel Azama." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/253986.
Full textTese (doutorado) - Universidade Estadual de Campinas, Faculdade de Educação
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Resumo: Este estudo tem como objetivo ler uma tragédia do teatro clássico grego escrita por Eurípides, Ifigênia em Áulis, com base em um tema mítico, e analisá-la sob o olhar dos helenistas, estabelecendo, a partir daí, um diálogo com a mesma temática em tragédias do período clássico e do teatro contemporâneo de autores franceses, através das obras Iphigénie e Iphigénie ou le Péché des Dieux, de Jean Racine e de Michel Azama, respectivamente. Apoia-se esta pesquisa em conceitos da filosofia moderna e pós-moderna para explicar o movimento do mito nessas diversas etapas da temporalidade que fazem parte do processo evolutivo do teatro, desde a Grécia Antiga até a época atual, sem perder de vista o período clássico. No caminho que se percorreu, procurou-se destacar a questão do conceito de sacrifício nesse mito que impulsionou as peças teatrais que são a base do corpus deste trabalho. Verificou-se que todas as obras levantam a ideia do sacrifício simbolizada através da Guerra de Troia e revisitada no momento em que esses autores comparavam valores políticos, sociais e religiosos moldados de acordo com a noção do poder vigente, em suas próprias épocas. Conclui-se, assim, que os três autores fazem uso da tragédia para denunciar o sacrifício e que Ifigênia continua viva no mundo atual. Desde a peça euripideana, a ação está subordinada à palavra, refletindo as tensões entre o poder e o sacrifício do ato
Abstract: This study has as its aim to read a tragedy of the classical Greek theatre written by Euripides, Iphigenia in Aulis, based on a mythical theme, and analyse it from the perspective of the Hellenists and from this, set up a dialogue with the same theme in tragedies of the classical era and contemporary theatre of French writers through the works Iphigénie and Iphigénie ou le Péché des Dieux, of Jean Racine and Michel Azama, respectively. This research is underpinned by modern and post-modern philosophical concepts in order to explain the movement of the myth in those distinct stages of temporality that are part of the evolutionary process of the theatre, from Ancient Greece to modern times, bearing in mind the classical period. In undertaking this trajectory, special focus was given to the question of the concept of sacrifice present in this myth, which inspired the theatrical plays that are the basis of this study. It was confirmed that all the works raise the idea of sacrifice, symbolized by the Trojan War and revisited when these authors compared political, social and religious values molded according to the notion of power present in their respective times. It is concluded that the three authors make use of tragedy to denounce the sacrifice and that Iphigenia is still alive in the contemporary world. Moreover, since the Euripidean play, action is subordinated to the word, reflecting the tension between power and the act of sacrifice
Doutorado
Educação, Conhecimento, Linguagem e Arte
Doutora em Educação
Ocenas, Marek. "Recherche de l’effet tragique à l’époque de la Régence : naissance de la tragédie philosophique." Thesis, Lyon 2, 2014. http://www.theses.fr/2014LYO20066.
Full textWithin the quest of renewal of the French Classical Tragedy of Regency period (1715-1723); the work closely explores the way how looking for a tragic impact leads to the philosophical tragedy birth. This work is grounded on an analysis of the French Comedy dramas performed during this period, but in the process, it gives a special attention to their contemporaneous acceptance in periodicals and brochures. First of all, the work speculates about the tragedy renewal in terms of two polemics – the dispute between Olds and News, and the dispute about theatre morality, but in this process it demonstrates how the thoughts of a theatre lead authors to the searching of the better adapted dramatic impact in view of spectators’ expectation whose sensibility is under evolution in the low of 18th century. Afterwards, the work specifies how the greater impact generating is related to a rising intensity of a great fear through a baddy on the one hand and to the searching for a greater story through numinous elements (prophecy, priesthood and choir) on the other hand. Finally, the work shows the fact how far the blasphemies found in some tragedies are calculated only to make a greater impact, on the contrary the Voltaire’s Oedipus can be considered as the first philosophical tragedy with respect to the fact when a dramatist creates the real critical strategy and to the fact when the tilts at religion are distinctly perceived by contemporary spectators. Thus, the work analyses a phenomenon how the changes related to the dramaturgical “statement” under the impact seeking can change the tragedy into the instrument for dispensing ideas which are a part of the Enlightenment birth. This phenomenon is prevailing both for future philosophical fights and for society transformation whereof philosophers will strive this via a medium available to a general audience
Sprogis, Frédéric. "Le Cothurne d'Alecton : la fureur dans la tragédie française (1553-1653)." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL041.
Full textAfter Jodelle’s 1533 initial play, in which he made his Cleopatra a furious character, the Tragedy genre throughout the 16e and 17e centuries never stopped questioning the motif of Fury, a force which profoundly undermined the characters’ ethos, jeopardized as they were by the threat of personal destruction, innermost disorders, and outbursts of passion. My thesis endeavour to elucidate the reasons why Tragedy’s playwrights probed so enduringly into Fury, which persisted as a motif, irrespective of all the metamorphoses of the genre, from Jodelle’s ‘Cléopâtre captive’ until the fiasco of ‘Pertharite’ in 1653. Although Fury appeared peripheral to the theory of Tragedy, it was central to its writing. Thus, from the standpoint of the material, it provides a form of unity in over a century of varied production. Subsequently, the perpetual reworking of the motif of Rage by these authors sheds light on the manner in which they envisioned the representation of extreme passions, from the Renaissance to the tragédie galante. First of all, the complex elaboration of the motif is investigated, exploring how Antiquity’s legacy was being reinvented by dramatic writing. Then, through the prism of Fury, the large corpus of plays under scrutiny is given fresh insight, revealing new dramatic influences and how the motif was espoused by the authors and interwoven with their personal style – or rejected. After that, owing to the fact that Fury was devoid of any clear theoretical and moral contents, it is detailed how it became a field where authors could engage freely in aesthetical, ethical and political discussions. Eventually, the problematic rendition of Fury on stage is investigated: from the outset, the spectacular quality of the motif begs the question of its various modes of representation. By means of poetic and scenic writing, how did the authors and then the comedians appeal to the audience and bring this uncontrollable madness to life?
Books on the topic "French tragedy"
French origins of English tragedy. Manchester, UK: Manchester University Press, 2010.
Find full textJondorf, Gillian. French Renaissance tragedy: The dramatic word. Cambridge [England]: Cambridge University Press, 1990.
Find full textA French tragedy: Scenes of civil war, summer 1944. Hanover, N.H: Dartmouth College, 1996.
Find full textTodorov, Tzvetan. A French tragedy: Scenes of civil war, summer 1944. Hanover [N.H.]: Dartmouth College, 1996.
Find full textRoyal DisClosure: Problematics of representation in French classical tragedy. Birmingham, Ala: Summa Publications, 1987.
Find full textNorrish, Peter. New tragedy and comedy in France, 1945-1970. Totowa, N.J: Barnes & Noble Books, 1988.
Find full textAustralian National University. Humanities Research Centre., ed. New tragedy and comedy in France, 1945-70. Basingstoke: Macmillan in association with the Humanities Research Centre, the Australian National University, Canberra, 1988.
Find full textLyons, John D. Kingdom of disorder: The theory of tragedy in Classical France. West Lafayette, Ind: Purdue University Press, 1999.
Find full textJ. H. van den Berg. De tragedie: Waardoor en waartoe: metabletisch onderzoek. Kapellen: Pelckmans, 2003.
Find full textBook chapters on the topic "French tragedy"
Hearden, Patrick J. "The French Indochina Empire." In The Tragedy of Vietnam, 1–27. 5th edition. | New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315164397-1.
Full textMaré, Antonio. "A TRAGEDY From the Spanish." In Christmas Stories from French and Spanish Writers, edited by Antoinette Ogden, 91–102. Piscataway, NJ, USA: Gorgias Press, 2006. http://dx.doi.org/10.31826/9781463212469-006.
Full textSimek, Nicole. "Hunger Pangs: Irony, Tragedy, Constraint." In Hunger and Irony in the French Caribbean, 121–48. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55882-4_5.
Full textSaenger, Michael. "“Dead for a Ducat”: Tragedy and Marginal Risk." In Shakespeare and the French Borders of English, 147–69. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137357397_7.
Full textKohlmayer, Rainer. "Frank Wedekind’s sex tragedy Lulu in English and French versions." In Translation in Context, 293. Amsterdam: John Benjamins Publishing Company, 2000. http://dx.doi.org/10.1075/btl.39.32koh.
Full text"Pleasures." In French Renaissance Tragedy, 131–54. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511470370.009.
Full text"Note on references and spelling." In French Renaissance Tragedy, xii. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511470370.001.
Full text"Introduction." In French Renaissance Tragedy, 1–8. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511470370.002.
Full text"Allusiveness." In French Renaissance Tragedy, 9–28. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511470370.003.
Full text"Exposition." In French Renaissance Tragedy, 29–44. Cambridge University Press, 1990. http://dx.doi.org/10.1017/cbo9780511470370.004.
Full textConference papers on the topic "French tragedy"
Yu, Peixia. "From Glory to Darkness-the Tragedy Faith of the French Revolution." In 2021 6th International Conference on Social Sciences and Economic Development (ICSSED 2021). Paris, France: Atlantis Press, 2021. http://dx.doi.org/10.2991/assehr.k.210407.106.
Full textWardani, Herlina, Andayani Andayani, Djoko Sulaksono, and Kundharu Saddhono. "Socio-Cultural Aspect in Ludruk Tragedi Kebun Tebu: Strengthening National Character Education." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286850.
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