Relevant bibliographies by topics / Revenge tragedies

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Revenge tragedies'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Revenge tragedies"

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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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Mathieu, Jeanne. "Book review: Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (April 2021): 134–36. http://dx.doi.org/10.1177/0184767821989561e.

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Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (April 5, 2017): 42. http://dx.doi.org/10.18533/journal.v6i4.1142.

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<p>Rather than focusing on the obvious traditions of evaluating Shakespearean tragic heroes, this paper presents a groundbreaking approach to unfold the pattern William Shakespeare follows as he designed his unique characters. This pattern applies to most, if not all, Shakespearean tragic heroes. I argue that Shakespeare himself reveals a great portion of this pattern on the tongue of Lear as the latter disowns Goneril and Regan promising to have “such revenges on [them] both” in <em>King Lear</em>. Lear’s threats bestow four unique aspects that apply not only to his character but they also apply to Shakespearean tragic heroes. Lear’s speech tells us that he is determined to have an awful type of revenge on his daughters. However, the very same speech tells us that he seems uncertain about the method through which he should carry out this revenge. Lear does not express any type of remorse as he pursues his vengeful plans nor should he aim at amnesty. He also admits his own madness as he closes his revealing speech. This research develops these facts about Lear to unfold the unique pattern Shakespeare follows as he portrayed his major tragic figures. This pattern is examined, described and analyzed in <em>King Lear, Othello, and Hamlet</em>. We will find out that the pattern suggested in this study helps us better understand Shakespeare’s tragedies and enables us to provide better explanations for some controversial scenes in the tragedies discussed. </p>
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Kiss, Attila. "Demetaphorization, Anatomy, and the Semiotics of the Reformation in Early Modern Revenge Tragedy." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 177–201. http://dx.doi.org/10.2478/stap-2018-0008.

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Abstract Reformation theology induced a profound thanatological crisis in the semiotics of the human being and the body. The Protestant Reformation discontinued numerous practices of intercession and communal ritual, and the early modern subject was left vulnerable in the face of death. The English Renaissance stage played out these anxieties within the larger context of the epistemological uncertainties of the age, employing violence and the anatomization of the body as representational techniques. While theories of language and tragic poetry oscillated between different ideas of imitatio (granting priority to the model) and mimesis (with preference for the creative and individual nature of the copy), the new anatomical interest and dissective perspectives also had their effects on the rhetorical practices of revenge tragedies. In the most shocking moments of these plays, rhetorical tropes suddenly turn into grisly reality, and figures of speech become demetaphorized, literalized. In a double anatomy of body and mind, English Renaissance revenge tragedy simultaneously employs and questions the emblematic and poetic traditions of representation, and the ensuing indeterminacy and ambiguity open paths for a new mimesis.
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Bán, Katalin. "Seneca Medeájának őrület-metaforái." Antikvitás & Reneszánsz, no. 4 (December 1, 2019): 27–36. http://dx.doi.org/10.14232/antikren.2019.4.27-36.

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Seneca’s tragedies are characterized by widespread use of metaphors, emotions and personality traits of heroes and heroines often appear in imagery representations. In my study, I intend to examine the central anger metaphors and pictorial representations of Seneca’s Medea, that is, the metaphors of various manifestations of the sea storm, the fire and the snake which are represented and in many cases intertwined with each other in the character of the heroine. The Medea is a drama of the anger, the destructive forces in the soul, the revenge, which Seneca often expresses with the use of these pictorial representations and compares them to the destructive forces of nature. Their various aspects are complex and versatile in Seneca’s prose and poetry.
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Yao, Minghua. "Subversive Characters and Unfortunate Victims: A Feminist Study of Medea and Bertha Mason in Love & Revenge Tragedies." International Journal of Literature and Arts 8, no. 5 (2020): 292. http://dx.doi.org/10.11648/j.ijla.20200805.15.

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Lim, Vanessa. "Hamlet's Choice: Religion and Resistance in Shakespeare's Revenge Tragedies. By PeterLake. Yale University Press. 2020. ix + 215pp. £35.00." History 106, no. 371 (May 24, 2021): 508–10. http://dx.doi.org/10.1111/1468-229x.13152.

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Piechucka, Alicja. "“You Avenge the Others”: The Portrait of a Femme Fatale in Gladys Huntington’s Madame Solario." Text Matters, no. 5 (November 17, 2015): 111–27. http://dx.doi.org/10.1515/texmat-2015-0009.

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The article deals with the concept of femme fatale as presented in Gladys Huntington’s 1956 novel Madame Solario. The eponymous protagonist, Natalia Solario, displays several characteristics of this female archetype, omnipresent in literature, culture and visual iconography. As a femme fatale, Natalia is beauty, danger and mystery incarnate. The cause of tragedies, but also a tragic figure herself, Madame Solario is both victim and victimizer. The article explores the interplay between innocence and experience, life and death, the erotic and the thanatic, as well as the motifs of transgression, ambiguity, love, passion, desire, perversion, dominance and control crucial to Huntington’s novel. Madame Solario reminds us that, paradoxically, the femme fatale usurps certain stereotypically masculine traits. This, in turn, brings us to the novel’s feminist dimension: the femme fatale is victimized by men, but she is also the agent of female revenge and, ultimately, liberation, symbolically marking the transition from patriarchy to women’s emancipation.
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Иванова, Ирина, and Irina Ivanova. "Loss of femininity by Medea: Reasons and an ethical evaluation." Servis Plus 8, no. 3 (September 1, 2014): 68–80. http://dx.doi.org/10.12737/5540.

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The author of the article seeks to reveal the reasons for the loss of femininity by heroines’ suffering from the Medea complex. To this end, the author considers the various developments of the plot featuring a betrayed woman taking revenge on her husband to be found in mythology, Euripides’ tragedies, Jean Marie Lucien Pierre Anouilh’s dramas, Yuri Petrovich Lyubimov’s theatrical performances at the Taganka Theatre. The author demonstrates that the revenge of mythological Medea is extolled and sanctified by Helios. In «Medea» created in a patriarchy-dominated period, Euripides shows a different attitude: his sympathy for the heroine reveals itself in Medea’s monologue, however, his condemnation of children-destruction by Medea is evident through the chorus cues. The image of the heroine is still elevated and stirs up sympathy. Lyubimov theatrical performance is inspired by Euripides’ tragedy, but the director gives a broad hint at the Medea tragedy repeating itself in the contemporary context. Kama Ginkas’ theatrical performances, emphasis is laid on Medea’s villainy, rather than on a feat of love. The author of the article claims that the evolution of the interpretation of Medea’s image is in tune with the evolution of cultural values over time. The view of Medea as alien to femininity is related by the author to the dominance of patriarchy and Christianity, which the author is agreed with and concludes that currently the image of Medea is to be seen as a negative example which serves to demonstrate that revenge, murder, and lack of maternal duty are incompatible with the concept of femininity. The author proves that the Medea complex identification and its ethics- and aesthetics-informed interpretation are currently of utmost importance.
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Gearhart, Stephannie S. "Peter Lake. Hamlet's Choice: Religion and Resistance in Shakespeare's Revenge Tragedies. New Haven: Yale University Press, 2020. Pp 224. $45.00 (cloth)." Journal of British Studies 60, no. 3 (June 29, 2021): 716–17. http://dx.doi.org/10.1017/jbr.2021.28.

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Dissertations / Theses on the topic "Revenge tragedies"

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McDonnell, Sharon Frances Irene. "Male poisoners in renaissance revenge tragedies." Thesis, Sheffield Hallam University, 2016. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.706122.

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Poisonings are the staple of revenge tragedies of the late Elizabethan and Jacobean periods, and contrary to a common perception that poison is a female weapon, male characters are often portrayed as the main perpetrators. I argue in this thesis that the plays discussed show a distinct type of male poisoner who employs poison as a weapon in a way that effeminises and emasculates them. I shall explore the character traits of this distinct male poisoner in six revenge tragedies: Hamlet, The Tragedy of Hoffman, The Revenger’s Tragedy, The Tragedy of Claudius Tiberius Nero, The Second Maiden’s Tragedy, and Albovine, King Of The Lombards. I will attempt to demonstrate that there are two categories of male poisoner: one is the heterosexual male who poisons others because of ambition, lust, or revenge (for example, the Duke in The Revenger’s Tragedy or Claudius in Hamlet), the other is the distinct male poisoner who acts in ways more associated with females than with males; and it is these characters that I focus on in this thesis. These distinct male poisoners are not just represented as effeminate, but are shown forming close homoerotic relationships with other males through their language and actions; in effect, these male poisoners take on the subordinate role of the female within these relationships. My contribution to knowledge is to bring attention to this distinct type of male poisoner and demonstrate that, while not all male poisoners are presented as identical to each other, all these insidious characters have deficient manhoods that are empowered by poison.
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McIntyre, Matthew. "Corporeal Violence in Early Modern Revenge Tragedies." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/86.

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In the four early modern revenge tragedies I study, Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Titus Andronicus, Thomas Middleton’s The Revenger’s Tragedy, and John Webster’s The Duchess of Malfi, the ubiquitous depictions of corporeal violence underscore the authors’ skepticism of the human tendency to infuse bodies – physical manifestations of both agency and vulnerability – with symbolism. The revengers in these plays try to avenge the death of a loved one whose disfigured body remains unburied and often continues to occupy a place on stage, but their efforts to infuse corpses with meaning instead reveal the revengers’ perverse obsession with mutilation as spectacle. In Chapter one, I show how in The Spanish Tragedy Thomas Kyd portrays the characters’ assertions of body-soul unity to be arbitrary attempts to justify self-serving motives. Although Hieronimo treats Horatio’s dead body as a signifier of his own emotions, he displays it, alongside the bodies of his enemies, as just another rotting corpse. In Chapter two, I explore how in Titus Andronicus, William Shakespeare questions the efficacy of rituals for maintaining social order by depicting how the play’s characters manipulate rituals intended to celebrate peace as opportunities to exact vengeance; Titus demands human sacrifice as not just an accompanying element, but a central motive of rituals ostensibly intended to signify commemoration. In Chapter three, I read The Revenger’s Tragedy as illustrating Thomas Middleton’s characterization of the depiction of corporeal mutilation as an overused, generic convention; the play’s revenger, Vindice, attributes multiple, constantly shifting, meanings to the rotting skull of his lover, which he uses as a murder weapon. In Chapter four I argue that in The Duchess of Malfi, John Webster destabilizes spectators’ interpretive capacities; within this play’s unconventional dramatic structure, the main characters use somatic imagery to associate bodily dismemberment with moral disintegration. Corpses, the tangible remains of once vigorous, able-bodied relatives, serve as central components of respectful commemoration or as mementos of vengeance, yet these dead, often gruesomely mutilated bodies also invite repulsion or perverse curiosity. Thus, rather than honoring the deceased, revengers objectify corpses as frightening spectacles or even use them as weapons.
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Haley, Maria Louise. "Reconstructing revenge : Thyestes tragedies from Sophocles to Seneca." Thesis, University of Leeds, 2018. http://etheses.whiterose.ac.uk/22862/.

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This thesis reconstructs the Attic and Republican fragments of lost Thyestes tragedies, in order to track the development of the revenge theme through the tragic tradition. Here I reconstruct Sophocles' and Euripides' Thyestean plays by analogy with each tragedian's extant corpus by comparing extracts that resemble the fragments in language and content. To develop an understanding of Thyestes' myth in Attic tragedy, I consider references to Thyestes and his ancestors in the tragedies featuring his descendants, providing points of contrast with Seneca's extant Thyestes. When reconstructing the Republican fragments of Ennius' Thyestes and Accius' Atreus, I consider the quotation context of the fragment, be it in Cicero, the grammarians or later scholia, in order to examine the themes in the surviving lines and their reception. This allows me to explore how the use of Thyestes' myth in the political texts of the Roman Republic shaped Ennius' Thyestes, Accius' Atreus and, in turn, Seneca's Imperial Thyestes. Though I contextualise these fragments in the trend of Thyestes tragedies written by minor Roman tragedians, often politicians, the few fragments of these tragedies and the political careers of the tragedians prevent me from reconstructing them here, since they are not indicative of changing presentations of revenge in tragedy more broadly. Similarly, I have not included sections on the fourth-century Greek fragments of Thyestes tragedies here, given that little in the surviving fragments pertains to the revenge theme. Though my complete monograph would include these 'minor' tragedians, for the purposes of the comparative methodology set out in this thesis I have included the best known playwrights of Thyestes tragedies. This has allowed me to incorporate fragmenta incerta, fragments from mythically relevant tragedies and a discussion of the texts in which the fragments are quoted to provide a more detailed understanding of Thyestes' myth before Seneca. Ultimately, by reconstructing Atreus' motives, supernatural influences and the presentation of Thyestes' feast in Sophocles', Euripides' Ennius' and Accius' works, this thesis argues that Seneca's Thyestes is not a uniquely violent revenge play.
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Mindrinou, Artemis. "Unresolved Resolutions in Renaissance Revenge Tragedies." Dissertação, 2013. https://repositorio-aberto.up.pt/handle/10216/72721.

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Mindrinou, Artemis. "Unresolved Resolutions in Renaissance Revenge Tragedies." Master's thesis, 2013. https://repositorio-aberto.up.pt/handle/10216/72721.

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"The false optic: Poisoned fictional objects in Renaissance revenge tragedies." Tulane University, 1993.

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This study examines the processes of signification for poisoned fictional objects indicated by the playscripts of all extant English Renaissance revenge tragedies which depict a character's murder by poison on stage. Discussion of these processes involves an understanding of the objects as signs, the methods of denotation and connotation which govern our understanding of such signs, and dramatic methods of manipulating sign-vehicles. In order to arrive at a coherent analysis, this study also examines many of the Renaissance English cultural codes in which poison plays a part. Because highly similar codes may be found in various contexts, four properties of poison take on the appearance of being inherent: invisibility, deception, corruption and poison/antidote duality. Renaissance authors, including the revenge-tragedy playwrights, frequently draw upon these properties in forming analogies to support their moral judgments By combining semiological and historical concerns, this study attempts to analyze the decoding processes of the spectator/participant as she watches the drama unfold and offers several possible interpretations of the dramatic action. Objects of particular interest include the poisoned sword and chalice of Hamlet, Gloriana's poisoned skull in The Revenger's Tragedy, the wine, arrows and incense of Women Beware Women, and, during a brief exploration of metaphorical poison, Desdemona's handkerchief in Othello Archbishop Thomas Cranmer's theological discussion of identity and representation in the Lord's Supper helps to define 'signs' and the drama in a Renaissance context. Cranmer's version of communion incorporates 'dramatic' conventions in manipulating the Eucharist which are similar to conventions used by the revenge-tragedy playwrights, including non-defective verbal explanation to compensate for iconographic incompleteness, and the maintenance of consistency in signification Cranmer and other theologians viewed Catholic liturgical practices as poisonous and idolatrous, and their anti-Catholicism was exploited by some revenge-tragedy playwrights, both to increase the audience's horror at the spectacle and to aid the audience's formation of moral judgments. In such plays as The Second Maiden's Tragedy, Kynge Johan and The White Devil, the anti-Catholicism explored by the manipulation of poisoned fictional objects collates into an elaborate anti-Catholic polemic
acase@tulane.edu
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Books on the topic "Revenge tragedies"

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Shakespeare, William. Tragedies. London: Marshall Cavendish, 1988.

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Shakespeare, William. Tragedies. Edited by Stanley Wells and Gary Taylor. Oxford: Oxford University Press, 1994.

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Shakespeare, William. The Tragedies. New York, USA: Smithmark, 2000.

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Shakespeare, William. Four tragedies. London: Penguin Books, 1994.

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Shakespeare, William. Tragedies: Volume 1. New York, USA: Alfred A. Knopf, 1992.

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Shakespeare, William. The tragedies: Illustrated. New York: Gramercy Books, 2002.

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Shakespeare, William. The Tragedies of Shakespeare. New York: Random House Publishing Group, 2000.

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Shakespeare, William. The Tragedies of William Shakespeare. New York, USA: Modern Library, 1994.

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Shakespeare, William. Three Tragedies: Hamlet / Macbeth / King Lear. 2nd ed. New York, London: Scolastic, 2001.

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Shakespeare, William. Three Tragedies: Hamlet / Macbeth / Romeo and Juliet. Edited by Barbara Mowat and Paul Westerine. New York, USA: Washington Square Press, 2003.

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Book chapters on the topic "Revenge tragedies"

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Sumbwanyambe, Mbuyu, and Andre L. Nel. "Subsidy, Revenue and Tragedies in Heterogeneous Communities." In Lecture Notes in Electrical Engineering, 121–35. Dordrecht: Springer Netherlands, 2012. http://dx.doi.org/10.1007/978-94-007-5651-9_9.

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Oppitz-Trotman, George. "Bare Facts, Endless Tragedies." In The Origins of English Revenge Tragedy, 204–20. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474441711.003.0007.

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Turning first to the classic revenge play sansrevenger, Arden of Faversham, this concluding chapter considers how this book’s findings bear on strongly held assumptions concerning the way concepts and categories relate to tragic works and their literary or theatrical afterlives.It is uncertain whether or not such works attain to ‘tragedy’ itself, or whether they prove incapable of it – but ‘metatheatre’ is a troublesome substitute. ‘Metatheatre’ is one of the most ubiquitous and influential concepts in contemporary study of (early modern) drama, yet the term’s origins and implications are very poorly understood. It conceals a host of naïve assumptions about the history and purpose of theatre, but survives precisely because its inadequacy reflects the confusion provoked by the figurative experiments identified for the first time by this book.
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Watson, Robert N. "Tragedies of revenge and ambition." In The Cambridge Companion to Shakespearean Tragedy, 171–94. Cambridge University Press, 2013. http://dx.doi.org/10.1017/cco9781139095747.011.

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Watson, Robert N. "Tragedies of revenge and ambition." In The Cambridge Companion to Shakespearean Tragedy, 160–81. Cambridge University Press, 2003. http://dx.doi.org/10.1017/ccol0521790093.009.

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"4. Rehearsing the Eucharistic Controversies: The Revenge Tragedies." In Staging Reform, Reforming the Stage, 94–124. Ithaca, NY: Cornell University Press, 2019. http://dx.doi.org/10.7591/9781501734083-008.

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"Médée’s Revenge: Magic and Rhetoric in the French Médée Tragedies of the 16th and 17th Centuries." In Emotions and Actions of Revenge, 1–12. BRILL, 2014. http://dx.doi.org/10.1163/9781848883628_002.

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Deutermann, Allison K. "‘Caviare to the General’?: Taste, Hearing and Genre in Hamlet." In Listening for Theatrical Form in Early Modern England. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411264.003.0004.

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This chapter turns to Shakespeare’s Hamlet, an early modern play deeply interested in, and highly self-consciously about, hearing. Possibly a revision of an earlier revenge tragedy, Hamlet is vitally shaped by the formal contests emerging at the turn of the century. Hamlet himself articulates a Jonsonian model of selective and tasteful theatrical reception, but his own hearing trouble frequently, tragically, undermines his ability to perform such audition. The Prince’s longing for complete and absolute control over his body’s sonic circulation is juxtaposed against Horatio’s more measured, partial reception; it is only in the play’s final moments that the dying Hamlet is released from this doomed, tortured struggle. Hamlet recuperates revenge from charges of embarrassing obsolescence by suggesting that all sounds can be processed thoughtfully, consciously, and carefully -- that no one dramatic sound or form forces its audiences to hear it so unthinkingly, or so violently. The chapter closes by examining Hamlet’s influence on the sound and structure of a handful of Jacobean revenge tragedies and city comedies, with particular attention to the highly sophisticated, generically self-aware The Revenger’s Tragedy.
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Steenbergh, Kristine. "Emotions and Gender: The Case of Anger in Early Modern English Revenge Tragedies." In A History of Emotions, 1200–1800, 119–34. Routledge, 2015. http://dx.doi.org/10.4324/9781315654911-9.

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Deutermann, Allison K. "Listening for Form at the Cockpit Theatre." In Listening for Theatrical Form in Early Modern England. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474411264.003.0005.

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This chapter focuses on the repertoire of a single West End playhouse, the Cockpit, during the final decade of the early modern theatre’s existence. In this somewhat seedy rival to the more fashionable Blackfriars, new revenge tragedies and city comedies continued to be written and performed, but the two forms were becoming increasingly hybridized, their sonic and auditory investments less distinct. A set of supra-generic conventions, each deeply attentive to sound and space, began to emerge across the plays performed within this playhouse; collectively, these helped to a shape a kind of Cockpit brand. Combining a survey of the Cockpit’s 1630s repertoire with focused attention to two representatively hybrid plays (James Shirley’s revenge-comedy The Ball and John Ford’s urban tragedy, ‘Tis Pity She’s a Whore), the chapter asks how this playhouse’s scrutiny of formal and sonic contests participated in the development of early modern theatre as a cultural institution.
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"Villains and Revengers." In Eight Tragedies of Shakespeare. Zed Books, 2016. http://dx.doi.org/10.5040/9781350219847.ch-00002.

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