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Relevant bibliographies by topics / Maid's tragedy

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Academic literature on the topic 'Maid's tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Maid's tragedy"

1

Giddens, E. E. "Calianax's Challenge in the Maid's Tragedy." Notes and Queries 44, no. 4 (December 1, 1997): 523. http://dx.doi.org/10.1093/notesj/44.4.523.

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GIDDENS, E. EUGENE. "CALIANAX'S CHALLENGE IN THE MAID'S TRAGEDY." Notes and Queries 44, no. 4 (1997): 523—a—523. http://dx.doi.org/10.1093/nq/44.4.523-a.

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Giddens, E. "Note. Calianax's challenge in The Maid's Tragedy." Notes and Queries 44, no. 4 (December 1, 1997): 523. http://dx.doi.org/10.1093/nq/44.4.523.

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Smith, Rochelle. "Admirable Musicians: Women's Songs in Othello and The Maid's Tragedy." Comparative Drama 28, no. 3 (1994): 311–23. http://dx.doi.org/10.1353/cdr.1994.0029.

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Eastwood, Adrienne L. "Controversy and the Single Woman in "The Maid's Tragedy" and "The Roaring Girl"." Rocky Mountain Review of Language and Literature 58, no. 2 (2004): 7. http://dx.doi.org/10.2307/1566550.

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Cressy, David. "Scandal and Religious Identity in Early Stuart England: A Northamptonshire Maid's Tragedy. By Peter Lake and Isaac Stephens. (Woodbridge, United Kingdom: Boydell Press, 2015. Pp. viii, 391. $99.00.)." Historian 79, no. 3 (September 1, 2017): 636–37. http://dx.doi.org/10.1111/hisn.12642.

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McGee, Sears. "Scandal and Religious Identity: A Northamptonshire Maid's Tragedy. By Peter Lake and Isaac Stephens. Studies in Modern British Religious History 32. Woodbridge, Suffolk: Boydell, 2015. vii + 391 pp. $99.00 hardcover." Church History 87, no. 1 (March 2018): 245–48. http://dx.doi.org/10.1017/s0009640718000446.

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Lynch, Kathleen. "Peter Lake and Isaac Stephens. Scandal and Religious Identity in Early Stuart England: A Northamptonshire Maid's Tragedy. Studies in Modern British Religious History. Woodbridge: Boydell Press, 2015. Pp. 403. $99.00 (cloth)." Journal of British Studies 55, no. 1 (January 2016): 195–97. http://dx.doi.org/10.1017/jbr.2015.221.

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Murnaghan, Sheila. "Penelope as a Tragic Heroine." Yearbook of Ancient Greek Epic Online 2, no. 1 (August 23, 2018): 165–89. http://dx.doi.org/10.1163/24688487-00201006.

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Abstract Attention to the ways in which Homeric epic is shaped by its engagement with choral lyric reveals continuities between epic and tragedy that go beyond tragedy’s mythical subject matter and the characteristics of tragic dialogue: both poetic forms rework the circumstances of choral performance into fictional events. This point can be illustrated through the figure of Penelope in the Odyssey who, like many tragic heroines, is in effect a displaced chorus leader. Penelope’s situation and her relations with her serving women, especially with the twelve disloyal maids whose punishment takes the form of a distorted choral dance, anticipate the circumstances of the tragic stage, in which individual characters act and suffer in the constant presence of choral groups.

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Sheils, Bill. "Scandal and religious identity in early Stuart England. A Northamptonshire maid's tragedy. By Peter Lake and Isaac Stephens. (Studies in Modern British Religious History, 32.) Pp. viii + 395 incl. frontispiece. Woodbridge–Rochester, NY: Boydell Press, 2015. £60. 978 78327 014 944." Journal of Ecclesiastical History 69, no. 4 (October 2018): 884–85. http://dx.doi.org/10.1017/s0022046918000945.

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Dissertations / Theses on the topic "Maid's tragedy"

1

Benson, Fiona. "The Ophelia versions : representations of a dramatic type, 1600-1633." Thesis, St Andrews, 2008. http://hdl.handle.net/10023/478.

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Salles, Juliana Rodrigues. "Servos das leis fatais: a ironia e o tr?gico em Os Maias de E?a de Queir?s." Universidade Estadual de Feira de Santana, 2016. http://localhost:8080/tede/handle/tede/478.

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Submitted by Ricardo Cedraz Duque Moliterno (ricardo.moliterno@uefs.br) on 2017-07-13T00:47:38Z No. of bitstreams: 1 Disserta??o versao final JULIANA SALLES- PDF.pdf: 894241 bytes, checksum: 62ee0d386d5f572b19154e91289f6bd4 (MD5)
Made available in DSpace on 2017-07-13T00:47:38Z (GMT). No. of bitstreams: 1 Disserta??o versao final JULIANA SALLES- PDF.pdf: 894241 bytes, checksum: 62ee0d386d5f572b19154e91289f6bd4 (MD5) Previous issue date: 2016-03-28
Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
E?a de Queiroz is one the writers that better managed to perform a reliable portrait of the society he was inserted: the Portugal of the Nineteenth century?s second half. A good deal of his work represented the decaying of his nation and the more predominant social addictions. The present dissertation makes, in the first place, a synthesis of the author?s projects, with the predominant themes and plots, since the Farpas until the Cenas Portuguesas. In a second moment, it?s analyzed the expedient of irony, ably used by the writer to treat with sarcasm, satire and pessimism the tragic themes of his principal novels. The central objective of this text is finding out in Os Maias (1888) the signals of the coming tragedy through the analysis of extracted excerpts from the narrative. To do so, the last chapter deal initially with the tragedy theory, that gives support to the reading of the chosen excerpts for analysis, these excerpts demonstrate the evidence left by the author that all the action in the novel moves gradually to a tragic upshot. Through the presence of irony and tragedy, our work reiterates that the main question of Os Maias goes far beyond of a love story with a tragic ending, it?s a work that includes more embracing and complex questions than the incest, but that E?a?s writing reveals only to the more attentive eyes.
E?a de Queir?s ? um dos escritores que mais conseguiram realizar o retrato fiel da sociedade em que estava inserido: o Portugal da segunda metade do s?culo XIX. Boa parte de sua obra representou a decad?ncia de sua p?tria e os v?cios sociais mais predominantes. A presente disserta??o faz, em primeiro lugar, uma s?ntese dos projetos do autor, com os temas e enredos predominantes, desde as Farpas at? as Cenas Portuguesas. Em um segundo momento, ? analisado o recurso da ironia, habilmente utilizado pelo escritor para tratar com sarcasmo, s?tira e pessimismo os tr?gicos temas dos seus principais romances. O objetivo principal deste texto ? buscar dentro de Os Maias (1888) os sinais da trag?dia vindoura atrav?s da an?lise de trechos extra?dos ao decorrer da narrativa. Para isso, o ?ltimo cap?tulo trata inicialmente sobre a teoria da trag?dia, que d? suporte ? leitura das passagens escolhidas para a an?lise, passagens estas que v?o demonstrando os ind?cios deixados pelo autor de que toda a a??o do romance caminha paulatinamente para um tr?gico desenlace. Atrav?s da presen?a da ironia e da trag?dia, nosso trabalho reitera que a quest?o principal de Os Maias vai muito al?m de uma hist?ria de amor com final tr?gico, ? uma obra que abarca quest?es mais abrangentes e complexas do que o incesto, mas que a escrita de E?a de Queir?s revela apenas aos olhares mais atentos.

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Alsop, James. "Playing dead : living death in early modern drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/17122.

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This thesis looks at occurrences of "living death" – a liminal state that exists between life and death, and which may be approached from either side – in early modern English drama. Today, reference to the living dead brings to mind zombies and their ilk, creatures which entered the English language and imagination centuries after the time of the great early modern playwrights. Yet, I argue, many post-Reformation writers were imagining states between life and death in ways more complex than existing critical discussions of “ghosts” have tended to perceive. My approach to the subject is broadly historicist, but informed throughout by ideas of stagecraft and performance. In addition to presenting fresh interpretations of well-known plays such as Thomas Middleton’s The Maiden’s Tragedy (1611) and John Webster’s The White Devil (1612), I also endeavour to shed new light on various non-canon works such as the anonymous The Tragedy of Locrine (c.1591), John Marston's Antonio's Revenge (c.1602), and Anthony Munday's mayoral pageants Chruso-thriambos (1611) and Chrysanaleia (1616), works which have received little in the way of serious scholarly attention or, in the case of Antonio's Revenge, been much maligned by critics. These dramatic works depict a whole host of the living dead, including not only ghosts and spirits but also resurrected Lord Mayors, corpses which continue to “perform” after death, and characters who anticipate their deaths or define themselves through last dying speeches. By exploring the significance of these characters, I demonstrate that the concept of living death is vital to our understanding of deeper thematic and symbolic meanings in a wide range of dramatic works.

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Lodhia, SHEETAL. "Material Self-Fashioning and the Renaissance Culture of Improvement." Thesis, 2008. http://hdl.handle.net/1974/1513.

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This dissertation argues that in Renaissance discourses of the body the body is progressively evacuated of the spirit, as we move from texts of the late Medieval period to texts of the Jacobean period. Where New Historicists have suggested that the practice of “self-fashioning,” which dictates behaviour, speech and dress, takes place in the Renaissance, I argue that there was a material self-fashioning of the body occurring simultaneously. Such corporeal fashioning, motivated by desire for physical improvement, frustrates the extent to which the soul shapes the body. My Introduction lays theoretical and historical groundwork, situating the body/soul relationship in relation to Christian theology, Senecan-Stoicism, Epicureanism and philosophical materialism. Discourses of artistic creation, informed by neo-Platonism, also influence corporeal fashioning in that the most radical bodily modifications are imagined through literature, where artificers are often privileged as creators. Chapter One examines “The Miracle of the Black Leg,” a transplant, by the doctor-Saints Cosmas and Damian, of a Moor’s black leg to a white Sacristan, whose gangrenous leg is amputated. In written and pictorial representations Cosmas and Damian, initially figured as Saints, are later presented as doctors who perform a medical procedure. Alongside the doctors’ increasing agency, the black leg itself, inflected by Renaissance notions of Moors and Moorishness, troubles the soul’s immanence in the body. Chapter Two examines Elizabeth I’s practices of bodily fashioning through her wigs, dentures and cosmetics. I argue that Elizabeth’s symbolic value, which includes components of monarchical rule, as well as attitudes toward female beauty, is always already pre-empted by her body. In Book III of The Faerie Queene, moreover, Edmund Spenser writes an alternative history of England through Britomart’s body to provide an heir to Elizabeth’s otherwise heirless throne. Chapters Three and Four perform close readings of Book II of The Faerie Queene, Thomas Tomkis’s Lingua, Thomas Middleton’s The Maiden’s Tragedy and Revenger’s Tragedy, and John Webster’s The Duchess of Malfi. I argue that both the allegorical and theatrical modes demand a level of materialism that paradoxically makes the body the centre of attention, and anticipates Cartesian mechanistic dualism.
Thesis (Ph.D, English) -- Queen's University, 2008-09-25 22:59:31.67

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Books on the topic "Maid's tragedy"

1

Beaumont, Francis. The maid's tragedy. Manchester: Manchester University Press, 1999.

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Beaumont, Francis. The maid's tragedy. London: Globe Education, 1997.

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Beaumont, Francis. The maid's tragedy. Manchester, UK: Manchester University Press, 1988.

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1579-1625, Fletcher John, and Craik T. W, eds. The maid's tragedy. Manchester, UK: Manchester University Press, 1988.

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Beaumont, Francis. Francis Beaumont: The maid's tragedy. Manchester: ManchesterUni. Press, 1990.

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Zhang, Xuejing. Jiao hong ji =: Golden boy and jade maiden. Beijing: New World, 2002.

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Ormand, Kirk. Exchange and the maiden: Marriage in Sophoclean tragedy. Austin: University of Texas Press, 1999.

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Shakespeare's lost play: In search of Cardenio. London: Nick Hern Books, 2012.

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Royal Academy of Dramatic Art, London. The maid's tragedy: By Beaumont and Fletcher. 2000.

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Beaumont, Francis, and John Fletcher. The Maid's Tragedy: Beaumont and Fletcher (Revels Plays). Manchester Univ Pr, 1990.

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Book chapters on the topic "Maid's tragedy"

1

Hopkins, Lisa. "Women as Emblem: The Maid’s Tragedy and The Lady’s Tragedy." In The Female Hero in English Renaissance Tragedy, 43–86. London: Palgrave Macmillan UK, 2002. http://dx.doi.org/10.1057/9780230503052_3.

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Barker, Roberta. "Death and the Married Maiden: Gender Reproduction as Destruction in The Broken Heart." In Early Modern Tragedy, Gender and Performance, 1984–2000, 136–62. London: Palgrave Macmillan UK, 2007. http://dx.doi.org/10.1057/9780230597488_6.

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Fletcher, John, Francis Beaumont, and British Drama 1533–1642: A Catalogue. "1650: The Maid's Tragedy." In British Drama 1533–1642: A Catalogue, Vol. 6: 1609–1616, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.wiggins1650.

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British Drama 1533–1642: A Catalogue. "1656: The Proud Maid's Tragedy." In British Drama 1533–1642: A Catalogue, Vol. 6: 1609–1616, edited by Martin Wiggins and Catherine Richardson. Oxford University Press, 2015. http://dx.doi.org/10.1093/oseo/instance.wiggins1656.

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"Chapter Ten. THE MAID’S TRAGEDY: HONORABLE TYRANNICIDE." In Court and Country Politics in the Plays of Beaumont and Fletcher, 183–211. Princeton: Princeton University Press, 1990. http://dx.doi.org/10.1515/9781400860722.183.

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Weiss, Naomi A. "From Choreia to Monody in Iphigenia in Aulis." In Music of Tragedy. University of California Press, 2017. http://dx.doi.org/10.1525/california/9780520295902.003.0006.

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This chapter explores the dynamics of choral song and monody in Iphigenia in Aulis, which was produced a year after Euripides’s death. The transition from the dominance of the chorus in the first two-thirds of the play to solo song in the closing scenes tracks a shift in focus from the all-male army to Iphigenia, the maiden whose sacrifice will allow them to take Troy. In her close reading of the choral odes, Weiss also demonstrates how the interplay of imagined and performed mousikē creates vivid backdrops for the action of the play, extending its temporal scope by bringing together moments from the Trojan cycle that are vital to—but sometimes uncomfortably at odds with—the dramatic present.

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"Sex and Tyranny Revisited: Waller’s The Maid’s Tragedy and Rochester’s Valentinian." In Theatre and Culture in Early Modern England, 1650-1737, 87–98. Routledge, 2017. http://dx.doi.org/10.4324/9781315236469-11.

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"7. The Maid’s Tragedy (1611–1613) and Parasitaster, or The Fawne (1604–1606)." In The Unruly Womb in Early Modern English Drama, 141–62. Medieval Institute Publications, 2019. http://dx.doi.org/10.1515/9783110662016-010.

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"“Uncollected Man”: Trauma and the Early Modern Mind-Body in The Maid’s Tragedy." In Staging Pain, 1580–1800, 43–58. Routledge, 2016. http://dx.doi.org/10.4324/9781315242491-10.

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Bourne, Claire M. L. "Plot Illustrated." In Typographies of Performance in Early Modern England, 185–228. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198848790.003.0005.

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Chapter 4 argues that techniques of illustrating early modern plays were designed to correspond to the effects those same plays were said to have had in performance. It studies the careful composition of custom-made woodcuts in a trio of Francis Beaumont and John Fletcher quartos: The Maid’s Tragedy (1619), A King and No King (1619), and Philaster (1620). These plays cemented Beaumont and Fletcher’s widely acknowledged reputation for creating a pleasurable sense of not-knowing for playgoers through clever plotting. The title-page images present seemingly contradictory but equally viable forecasts of the plays’ endings and enhance readerly uncertainty through visual paradox. By contrast, the engravings made for the 1711 edition of Beaumont and Fletcher’s Works depicted single, isolated moments. In step with the resurgence of neoclassical principles of dramatic decorum in the late seventeenth century, these engravings attempted to unify readers’ attention where the earlier woodcuts had sought to confuse it to pleasing effect.

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