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Journal articles on the topic 'Revenge tragedies'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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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2

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 (2021): 134–36. http://dx.doi.org/10.1177/0184767821989561e.

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3

Al-Ibia, Salim Eflih. "King Lear Reveals the Tragic Pattern of Shakespeare." Journal of Arts and Humanities 6, no. 4 (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 characte

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4

Kiss, Attila. "Demetaphorization, Anatomy, and the Semiotics of the Reformation in Early Modern Revenge Tragedy." Studia Anglica Posnaniensia 53, no. 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 (gr

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5

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

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6

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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7

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 (2021): 508–10. http://dx.doi.org/10.1111/1468-229x.13152.

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8

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

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Иванова, Ирина, and Irina Ivanova. "Loss of femininity by Medea: Reasons and an ethical evaluation." Servis Plus 8, no. 3 (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 differe

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10

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 (2021): 716–17. http://dx.doi.org/10.1017/jbr.2021.28.

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11

Saleh, Sabrine. "Mothers and Sons: Representing Motherhood in Blood Wedding and Mother Courage and Her Children." International Journal of English Language Studies 4, no. 7 (2021): 01–04. http://dx.doi.org/10.32996/ijels.2021.3.7.1.

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This paper examines the representation of the mother figure in two modern tragedies, namely Blood Wedding (1932) by the Spanish dramatist Federico García Lorca and Mother Courage and Her Children (1939) by the German playwright Bertolt Brecht. The paper sheds light on the binary representation of maternity in both plays. Hence, it highlights how the mother figures are depicted as traditional, “natural” mothers who are caring and overprotective but simultaneously contradict the traditional mother archetype, rendering themselves “bad mothers.” It shows that the mothers sacrifice their motherhood

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12

De Santis, Guillermo. "El Drama Satírico y el reverso de la Tragedia." CODEX – Revista de Estudos Clássicos 4, no. 2 (2016): 4. http://dx.doi.org/10.25187/codex.v4i2.5318.

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<p class="normal">El presente artículo presenta el Drama Satírico como el reverso teatral de la Tragedia. Como forma teatral inserta en el “espectáculo trágico”, la función del Drama Satírico no puede ser analizada separadamente de la Tragedia y se propone que el contraste con esta última es un modo acertado de análisis dada la escasez de fuentes que se poseen.</p><p class="normal">A partir del análisis de las implicancias humorísticas del lenguaje, la <em>ópsis</em> y la gestualidad, este artículo propone que el Drama Satírico opera fundamentalmente sobre las emo

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13

Hoffman, Katherine. "Eileen Allman, Jacobean Revenge Tragedy and the Politics of Virtue. Newark, DE: University of Delaware Press and London: Associated University Presses, 1999. 212 pp. $36.50. ISBN: 0-87413-698-9. - Philippa Berry, Shakespeare's Feminine Endings: Disfiguring Death in the Tragedies. (Feminist Readings of Shakespeare, 3.) London and New York: Roudedge, 1999. xiv + 197 pp. $24.99. ISBN: 0-415-06895-9." Renaissance Quarterly 54, no. 2 (2001): 632–35. http://dx.doi.org/10.2307/3176810.

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14

Doko, Fatbardha. "CLIMATE AS CLIMAX IN ‘KING LEAR’." Knowledge International Journal 28, no. 7 (2018): 2349–53. http://dx.doi.org/10.35120/kij28072349f.

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Shakespeare’s tragedies are among the most analyzed and discussed literary works. In his tragedies Shakespeare follows the Aristotelian pattern of drama, so it is easy to notice there all the elements of a tragedy presented in Aristotle’s Poetics. In this paper I will define what climax in literature is and explore the climax of one of the four great tragedies of Shakespeare, that of King Lear. As a masterfully structured play, the central part of the play is the climax itself. But what is the climax of this play, how is it presented, does it have any impact on the characters, how does it chan

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15

Briuchowecka, Łarysa. "Польща в українському кіно". Studia Filmoznawcze 37 (14 вересня 2016): 25–88. http://dx.doi.org/10.19195/0860-116x.37.5.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo

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Briuchowecka, Łarysa. "Polska w kinie ukraińskim." Studia Filmoznawcze 37 (September 14, 2016): 89–150. http://dx.doi.org/10.19195/0860-116x.37.6.

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POLAND IN UKRAINIAN CINEMAMultinational Ukraine in the time of Ukrainization conducted a policy which was supportive of the national identity, allowed the possibility of the cultural development of, among others, Jews, Crimean Tatars, and Poles. Cinema was exemplary of such policy, in 1925 through to the 1930s a number of films on Jewish and Crimean Tatar topics were released by Odessa and Yalta Film Studios. However, the Polish topic, which enjoyed most attention, was heavily politicized due to tensions between the USSR and the Second Commonwealth of Poland; the Soviet government could not fo

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17

Allan, William. "The Ethics of Retaliatory Violence in Athenian Tragedy." Mnemosyne 66, no. 4-5 (2013): 593–615. http://dx.doi.org/10.1163/156852512x617605.

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Abstract This article focuses on the presentation of retaliatory violence in Athenian tragedy. It suggests that such tit-for-tat violence is characterized as problematic from the earliest Greek literature onwards, but also stresses the continuing importance of anger, honour, and revenge in classical Athenian attitudes to punishment and justice. With these continuities in mind, it analyses the new process by which punishment and justice were achieved in Athens, and argues that the Athenians’ emphasis on the authority of their laws is central to understanding tragedy’s portrayal of personalized

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18

Jay, Jeff. "Spectacle, Stage-Craft, and the Tragic in Philo’s In Flaccum." Journal of Ancient Judaism 8, no. 2 (2017): 222–40. http://dx.doi.org/10.30965/21967954-00802007.

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This article provides a literary analysis of how references to spectacle and stage-craft function in Philo’s In Flaccum, which is a valuable text for understanding Philo’s complex and seemingly contradictory attitudes toward the theater, stage-craft, and drama. After marching Jews into the theater of Alexandria for punishment during the pogrom, Flaccus becomes a spectacle himself when Philo portrays Flaccus’s deportation to exile as a procession. By staging an elaborate textual spectacle starring the deposed Flaccus, Philo exploits the well-attested punitive dimension of spectacles. Through ex

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19

Graziosi, Andrea. "The Impact of Holodomor Studies on the Understanding of the USSR." East/West: Journal of Ukrainian Studies 2, no. 1 (2015): 53. http://dx.doi.org/10.21226/t2z595.

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This paper investigates what the Holodomor tells us about the development and dynamics of Soviet history. It starts by examining the evolving relations between Stalin and the peasantry during the Soviet Union’s first decades as well as the social, economic, moral, and psychological consequences in the USSR after 1933 following the destruction of traditional rural society. The relationship between the Holodomor and the viability of the Soviet system will then be discussed along with the opportunities that history presented to the Soviet leadership after 1945 to reverse the country’s critical 19

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20

Minkoff, Howard. "You Don't Have to Be Infected to Suffer: COVID-19 and Racial Disparities in Severe Maternal Morbidity and Mortality." American Journal of Perinatology 37, no. 10 (2020): 1052–54. http://dx.doi.org/10.1055/s-0040-1713852.

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Both coronavirus disease 2019 (COVID-19) and maternal mortality disproportionately affect minorities. However, direct viral infection is not the only way that the former can affect the latter. Most adverse maternal events that end in hospitals have their genesis upstream in communities. Hospitals often represent a last opportunity to reverse a process that begins at a remove in space and time. The COVID-19 pandemic did not create these upstream injuries, but it has brought them to national attention, exacerbated them, and highlighted the need for health care providers to move out of the footpr

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21

Boyle, A. J. "Introduction: Medea in Greece and Rome." Ramus 41, no. 1-2 (2012): 1–32. http://dx.doi.org/10.1017/s0048671x00000230.

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Few mythic narratives of the ancient world are more famous than the story of the Colchian princess/sorceress who betrayed her father and family for love of a foreign adventurer and who, when abandoned for another woman, killed in revenge both her rival and her children. Many critics have observed the complexities and contradictions of the Medea figure—naive princess, knowing witch, faithless and devoted daughter, frightened exile, marginalised alien, displaced traitor to family and state, helper-maiden, abandoned wife, vengeful lover, caring and filicidal mother, loving and fratricidal sister,

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22

Assa, Anna Elfira Prabandari. "POSTMEMORY DALAM NOVEL TAPOL KARYA NGARTO FEBRUANA." Poetika 7, no. 1 (2019): 17. http://dx.doi.org/10.22146/poetika.v7i1.43130.

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Narasi balas dendam yang masih terus direproduksi oleh pihak-pihak yang bertikai semakin membuat rekonsiliasi tragedi ’65 berujung pada kemacetan. Kerelaan untuk sa-ling mengakui kesalahan adalah langkah besar dalam usaha rekonsiliasi. Sayangnya, korban PKI hanya mengingat saat mereka menjadi bulan-bulanan PKI, sebelum Peristiwa G30S. Sementara itu, PKI hanya mengingat pasca-G30S, saat mereka menjadi korban genosida politik. Sebuah novel berjudul Tapol karya Ngarto Februana memotret fenomena tersebut. Pengarang yang tidak pernah mengalami langsung peristiwa ’65 membuat teori postmemory dari Ma

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23

Blank, Daniel. "Peter Lake. Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies." Review of English Studies, December 24, 2020. http://dx.doi.org/10.1093/res/hgaa112.

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24

Chiciudean, Gabriela. "LE MYTHE D’ÉLECTRE DANS L’OEUVRE DE TROIS POÈTES DE L’ANTIQUITÉ." Trictrac 9 (June 13, 2016). http://dx.doi.org/10.25159/1996-7330/1218.

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This paper is the first part of a larger study that depicts the transformation of Electra’s myth in theatre plays, from its origins to modernity, its continuous accommodation to different epochs and mentalities, to historical contexts, aesthetical tendencies, new literary genres and subgenres and, last but not least, the author’s personality. The paper focuses on Electra’s myth in antique poetry and offers a general view on the tragedy, its origin and structure, elements, action and characters, with concrete examples from Aeschylus’ Orestia, Sophocles’ Electra and Euripides’ Electra. Consideri

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25

Dickhaut, Kirsten. "Geisterstunde. Magie, Machtprobe und Herrschaftsgrund in Corneilles Illusion comique und Médée." Romanistisches Jahrbuch 68, no. 1 (2017). http://dx.doi.org/10.1515/roja-2017-0006.

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AbstractGhosts are omnipresent in Early Modern Theatre. Not only in Shakespeare but also in Corneille’s drama these apparitions serve to structure tragedies. The article discusses three functions of ghosts at the beginning of the 17th century: first, their technical aspect as a new form of a ‘deus ex machina’; second, their anthropological dimension as spirits, and third, their Christian equivalent as demons. Ghosts are used to decide the battle between good and evil or - as in Corneille’s Médée - between a king and a witch, that is between mystical and magical power systems. Whereas the king

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26

Hoydis, Julia. "Hamlet Revision: Bhardwaj’s Haider as Crossmapping and Contact Zone." Adaptation, December 28, 2020. http://dx.doi.org/10.1093/adaptation/apaa035.

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Abstract Completing his trilogy of adaptations of Shakespearean tragedies, Indian director Vishal Bhardwaj’s film Haider (2014) tackles Hamlet. A generic fusion of realist drama, Bollywood movie, and espionage thriller, the film intersects the Elizabethan source text’s revenge plot with intertextual references to journalist Basharat Peer’s contemporary war memoir Curfewed Nights (2011), detailing the realities in insurgency-torn Kashmir in the 1990s. Taking its cue from the film’s controversial reception, which runs the gamut from censorship, appraisals, and criticism that Indian film does not

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27

Fitter, Chris. "Hamlet’s Choice: Religion and Resistance in Shakespeare’s Revenge Tragedies. Peter Lake. New Haven, CT: Yale University Press, 2020. Pp. ix+215." Modern Philology, December 22, 2020, E000. http://dx.doi.org/10.1086/712962.

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28

Lee, C. Jason. "I Love To Hate You/All You Need Is Hate." M/C Journal 5, no. 6 (2002). http://dx.doi.org/10.5204/mcj.2011.

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Neil Tenant of The Pet Shop Boys crooned the song and memorable line ‘I love to hate you’. Today this refrain has become a global phenomenon within public rhetoric. Many thinkers, most famously Freud, have argued that war is innate to human nature, warfare being a projection of internal battles onto the external world. Etymologically war relates to ‘confusion’ and ‘strife’, two words intimately connected with a certain form of lovemadness. As with love, war is ‘play’ where only the noblest survive (Pick 70). While traditionally God is love in most main religions, J.F.C. Fuller maintains ‘war i

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29

Rengganis Wijayanti, Dewa Ayu, I. Nengah Sudipa, and Putu Weddha Savitri. "Psychological Aspects of the Main Character in the Movie “If I Stay”." Humanis, November 1, 2018, 842. http://dx.doi.org/10.24843/jh.2018.v22.i04.p01.

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The paper entitled Psychological Aspect of the Main Character in The Movie “If I Stay” aims to describe the psychological aspect of the main character and how this aspect affects the main character’s behavior or personality. The topic is interesting because this movie has some tragedies that happen and affect the main character’s life in terms of view of psychological aspect which made this movie have an agitation to be analyzed.The data of this study were taken from a movie entitled If I Stayby using the documentation method. The collected data were analyzed by using a qualitative method base

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30

Purwanto. "Menanggulangi Masalah Kemiskinan dan Pengangguran di Indonesia dalam Perspektif Ekonomi." Jurnal Ekonomi dan Pendidikan 2, no. 1 (2012). http://dx.doi.org/10.21831/jep.v2i1.658.

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Problems of macro economy that related to people’s life are often called “twin problems”. The aimed problems are the poverty and unemployment matters. The two problems are very interesting to discuss in order to solve them. Poverty and unemployment happened in relation to the rate or the condition of economic growth, thus there are three important things should be concerned with in this efforts of overcoming the poverty, as following: firstly, the economic growth that offered benefit as great as possible for poor people. Secondly, the development of social community is by extending and stimula

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31

Phillips, Maggi. "Diminutive Catastrophe: Clown’s Play." M/C Journal 16, no. 1 (2013). http://dx.doi.org/10.5204/mcj.606.

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IntroductionClowns can be seen as enacting catastrophe with a small “c.” They are experts in “failing better” who perhaps live on the cusp of turning catastrophe into a metaphorical whirlwind while ameliorating the devastation that lies therein. They also have the propensity to succumb to the devastation, masking their own sense of the void with the gestures of play. In this paper, knowledge about clowns emerges from my experience, working with circus clowns in Circus Knie (Switzerland) and Circo Tihany (South America), observing performances and films about clowns, and reading, primarily in E

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32

Toutant, Ligia. "Can Stage Directors Make Opera and Popular Culture ‘Equal’?" M/C Journal 11, no. 2 (2008). http://dx.doi.org/10.5204/mcj.34.

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Cultural sociologists (Bourdieu; DiMaggio, “Cultural Capital”, “Classification”; Gans; Lamont & Foumier; Halle; Erickson) wrote about high culture and popular culture in an attempt to explain the growing social and economic inequalities, to find consensus on culture hierarchies, and to analyze cultural complexities. Halle states that this categorisation of culture into “high culture” and “popular culture” underlined most of the debate on culture in the last fifty years. Gans contends that both high culture and popular culture are stereotypes, public forms of culture or taste cultures, each

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