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Relevant bibliographies by topics / Revenge tragedy

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Academic literature on the topic 'Revenge tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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Journal articles on the topic "Revenge tragedy"

1

Simkin (book author), Stevie, and Brian Patton (review author). "Revenge Tragedy." Renaissance and Reformation 37, no. 3 (January 1, 2001): 97. http://dx.doi.org/10.33137/rr.v37i3.8732.

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Graham, Katherine M. "‘You Mean Some Strange Revenge’." Critical Survey 34, no. 2 (March 1, 2022): 39–51. http://dx.doi.org/10.3167/cs.2022.340204.

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In Thomas Middleton’s The Revenger’s Tragedy, we learn that a revenger must be ‘strange-disposed’ or ‘strange-composed’ (1.1.86/96), and in Francis Beaumont and John Fletcher’s The Maid’s Tragedy the vengeful Amintor claims ‘what a strange thing am I’ (2.1.298). In these utterances, the speakers tie their desires for vengeance into their affective state. As both plays progress, however, the evocations of strangeness shift, moving from an association with the revenger to an association with the act of revenge itself. In working to unpack the interrelationships between the revenger, the strangeness of their affective experience and the strangeness of the act of revenge itself, this article considers what questions these plays ask regarding the tension between embodiment and disembodiment in the act of revenge.

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Wymer, Rowland, and John Kerrigan. "Revenge Tragedy: Aeschylus to Armageddon." Yearbook of English Studies 29 (1999): 267. http://dx.doi.org/10.2307/3508951.

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Charnes, Linda, and John Kerrigan. "Revenge Tragedy: Aeschylus to Armageddon." Shakespeare Quarterly 48, no. 4 (1997): 501. http://dx.doi.org/10.2307/2871273.

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KERRIGAN, JOHN. "Revolution, Revenge, and Romantic Tragedy." Romanticism 1, no. 1 (April 1995): 121–40. http://dx.doi.org/10.3366/rom.1995.1.1.121.

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Daalder, Joost. "Revenge Tragedy (review)." Parergon 19, no. 2 (2002): 226–28. http://dx.doi.org/10.1353/pgn.2002.0069.

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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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Podlecki, A. J., and Anne Pippin Burnett. "Revenge in Attic and Later Tragedy." Phoenix 54, no. 3/4 (2000): 343. http://dx.doi.org/10.2307/1089066.

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Pedrick, Victoria, and Anne Pippin Burnett. "Revenge in Attic and Later Tragedy." Classical World 93, no. 5 (2000): 554. http://dx.doi.org/10.2307/4352459.

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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 vengeance and the chaos that ensues from it. Though (for reasons of space) it focuses on only a selection of plays in detail (A. Eu., S. El., E. El., Or.), the article adduces further examples to show that the same socio-historical developments are central to the portrayal of retaliatory violence throughout the genre, and ends by considering how tragedy, in depicting revenge as problematic, offers a more positive alternative to such violence which does justice to the emotional and social needs of its audience.

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Dissertations / Theses on the topic "Revenge tragedy"

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Waller, Simone. "The Artifice of Revenge: Metatheatricality and Renaissance Revenge Tragedy." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1304091760.

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Browne, Paul Shaun. "Secrecy and metatheatre in English Renaissance revenge tragedy." Thesis, Birkbeck (University of London), 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.498393.

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Denton, Megan. "Beyond Reason: Madness in the English Revenge Tragedy." VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/554.

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This paper explores the depiction and function of madness on the Renaissance stage, specifically its development as trope of the English revenge tragedy from its Elizabethan conception to its Jacobean advent through a representative engagement of Thomas Kyd’s The Spanish Tragedy, William Shakespeare’s Hamlet and John Webster’s The Duchess of Malfi. Madness in these plays selectively departs from popular conceptions and archetypal formulas to create an uncertain dramatic space which allows its sufferers to walk moral lines and liminal paths unavailable to the sane. “Madness” is responsible for and a response to vision; where the revenger is driven to the edge of madness by a lapse in morality only visible to him, madness provides a lens to correct the injustice. It is the tool that allows them to escape convention, decorum and even the law to rout a moral cancer, and, in this capacity, is enabling rather than disabling.

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Oppitz-Trotman, George David Campbell. "The origins of English revenge tragedy, ca.1567-1623." Thesis, University of Cambridge, 2011. https://www.repository.cam.ac.uk/handle/1810/265244.

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This thesis offers a materialist account of dramatic genre. It shows how English revenge tragedies were mediated by the social circumstances of their early modern dramatic production, and how in turn such circumstances found expression in dramatic form. Its method draws on Marxist critical theory, but the work also makes extensive use of traditions in English social history and more conventional literary criticism. Influenced by Walter Benjamin’s early work, 'Urprung des deutschen Trauerspiels', in which ‘origin’ (Ursprung) is distinguished from ‘genesis’ (Entstehung), the dissertation offers an account of the genre’s dialectical relationship with the social realities and legal circumscriptions accompanying theatrical performance at the time revenge plays became popular. Focusing on the characterization of avenging protagonists, the dissertation suggests how the ambivalent disposition of such figures to narrative and scene drew on historical problems of social and occupational identity in early modern England. The first chapter dwells on the ambiguities of the avenger’s marginalisation in Thomas Kyd’s seminal revenge play, The Spanish Tragedy. This chapter realizes the problem of revenge as one relating to the household, and in turn connects this to the image of the early professional theatre as a disorderly house. Building on this analysis of the historical grounds of Hieronimo’s disenfranchisement and revenge, the second chapter explores the resources of characterization provided for such avengers by the dramatic tradition of the Vice which, by the 1570s and 1580s, had become associated with the professional actor. The third chapter examines how the idiom of the ruin in the two tragedies of John Webster might invite a Benjaminian analysis of the revenge play as a vulnerable allegory of production. This chapter looks to link revenge plays’ representations of death to contingencies of performance. The final two chapters are connected by an interest in the relationship between characterization and forms of historical risk. Chapter 4 explores the duel at Hamlet’s climax from a variety of perspectives, arguing that its debased nature as a ritual of valour interacted in highly sophisticated ways with the problems of intentionality and invention associated with earlier revenge plays as well as with performance itself. The final chapter builds on the arguments of Chapter 4 while recalling many of the arguments made earlier in the thesis. Demonstrating the dialectical interaction of the actor-as-servant and the servant-intriguer, this fifth chapter situates the study of such characterization within the historiographical controversies surrounding the early-modern wage labourer. This dissertation aims (i) to provide innovative criticism of English revenge tragedy, insisting upon the genre’s dialectical foundation in processes of dramatic production; (ii) to outline a viable, dialectically materialist genre criticism; (iii) to show how changes in socio-economic dependencies produced specific dramaturgical effects, particularly as these related to the process of characterization.

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Ross, Aimee Elizabeth. "From ghosts to skulls : selfhood, bodies and gender in Renaissance revenge tragedy /." view abstract or download file of text, 2000. http://wwwlib.umi.com/cr/uoregon/fullcit?p9998045.

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Thesis (Ph. D.)--University of Oregon, 2000.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 218-228). Also available for download via the World Wide Web; free to University of Oregon users.

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Macrae, Mitchell. "Between Us We Can Kill a Fly: Intersubjectivity and Elizabethan Revenge Tragedy." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23131.

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Using recent scholarship on intersubjectivity and cultural cognitive narratology, this project explores the disruption and reformation of early modern identity in Elizabethan revenge tragedies. The purpose of this dissertation is to demonstrate how revenge tragedies contribute to the prevalence of a dialogical rather than monological self in early modern culture. My chapter on Thomas Kyd's The Spanish Tragedy synthesizes Debora Shuger’s work on the cultural significance of early modern mirrors--which posits early modern self-recognition as a typological process--with recent scholarship on the early modern dialogical self. The chapter reveals how audiences and mirrors function in the play as cognitive artifacts that enable complex experiences of intersubjectivity. In my chapter on Shakespeare's Titus Andronicus, I trace how characters construct new identities in relation to their shared suffering while also exploring intersubjectivity’s potential violence. When characters in Titus imagine the inward experience of others, they project a plausible narrative of interiority derived from inwardness’s external signifiers (such as tears, pleas, or gestures). These projections and receptions between characters can lead to reciprocated sympathy or violent aggression. My reading of John Marston’s Antonio’s Revenge explores revenge as a mode of competition. Marston suggests a similarity between the market conditions of dramatic performance (competition between playwrights, acting companies, and rival theaters) and the convention of one-upmanship in revenge tragedy, i.e. the need to surpass preceding acts of violence. While other Elizabethan revenge tragedies represent reciprocity and collusion between characters as important aspects of intersubjective self-reintegration, Marston’s play emphasizes competition and rivalry as the dominant force that shapes his characters. My final chapter provides an analysis of Shakespeare's Hamlet. I argue that recent scholarship on intersubjectivity and cognitive cultural studies can help us re-historicize the nature of Hamlet’s “that within which passes show.” Hamlet’s desire for the eradication of his consciousness explores the consequences of feeling disconnected from others in a culture wherein identity, consciousness, and even memory itself depend on interpersonal relations.

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Thind, Rajiv. "The Struggles of Remembrance: Christianity and Revenge in William Shakespeare's Hamlet." Thesis, University of Canterbury. Department of English, 2014. http://hdl.handle.net/10092/9366.

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This thesis focuses on the religious aspects of William Shakespeare's Hamlet which, I argue, form the foundation of Hamlet's plot and are critical to understanding Hamlet's character and his dilemmas. Early modern culture was particularly saturated with religious allusions. The advent of the Reformation and emergence of printing resulted in an explosive growth in the publication of new Bible translations and other religious materials. While I note that most early modern writers of general literature made frequent use of biblical texts and themes, I add that Shakespeare's use of the Bible and Christian doctrine in Hamlet is especially subtle and substantial. Shakespeare achieves this by establishing Hamlet as a particularly devout Christian Prince who is a student at the University of Wittenberg. I argue that it is Hamlet's theological pedantry which makes him procrastinate throughout the play. Additionally, Hamlet's Christian characteristics exhibit syncretic - Catholic and Protestant - Christianity as represented by Elizabethan religious culture. Shakespeare incorporates contemporary religious beliefs in the play not for dogmatic purposes but rather for dramatic expedience. I compare Hamlet to other contemporary revenge tragedies and establish how the underlying Christian themes, as revealed in Hamlet's character through his soliloquies, set Hamlet apart from other revenge plays. Finally I argue that Hamlet exacts his revenge through a particular performance that operates exclusively within his Christian worldview. Ultimately, as I conclude in the third chapter, through the character of Hamlet, Shakespeare also makes the best dramatic use of contemporary religious beliefs and contentions to make his audience ponder the big question that concerned them: the eventual fate of the human soul.

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Nielsen, Isho Paul. "The Prototypical Avengers in The Spanish Tragedy and Hamlet." Thesis, Karlstads universitet, Institutionen för språk, litteratur och interkultur, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-35317.

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During the height of the English Renaissance, the revenge tragedies The Spanish Tragedy and Hamlet were introduced to the English literary canon. In this essay, I will focus on the similarities that the protagonists, Hamlet and Hieronimo, share as prototypical avengers. Although Hamlet’s contribution to the genre should not be discredited, I will argue that the similar characterisation of Hieronimo in The Spanish Tragedy, portrays the same depth and entitlement to the acclaim as a prototypical avenger as Hamlet. Even though their portrayal may differ in tone, their shared commonality attributes equal complexity to both characters. I will compare and analyse the two plays in order to demonstrate that both characters should be considered prototypical avengers. The essay concludes that a reluctance to revenge and a tendency to contemplate the morality of the action is prominently shared by both prototypical avengers. Although critics generally infer Hieronimo is a less complex character in comparison with Hamlet, this essay will show how both avengers deserve equal credit. This essay illustrates this statement by juxtaposing their equal need to find justification before taking revenge, use of suicide to emphasise their moral dilemma, and comment on the tragic consequences of revenge.

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Rollins, Benjamin O. "Carnival's Dance of Death: Festivity in the Revenge Plays of KYD, Shakespeare, and Middleton." Digital Archive @ GSU, 2012. http://digitalarchive.gsu.edu/english_diss/79.

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Through four hundred years of accumulated disparaging comments from critics, revenge plays have lost much of the original luster they possessed in early modern England. Surprisingly, scholarship on revenge tragedy has invented an unfavorable lens for understanding this genre, and this lens has been relentlessly parroted for decades. The conventional generic approach that calls for revenge plays to exhibit a recurring set of concerns, including a revenge motive, a hesitation for the protagonist, and the revenger’s feigned or actual madness, imply that these plays lack philosophical depth, as the appellation of revenge tends to evoke the trite commonalities which we have created for the genre. This dissertation aims to rectify the provincial views concerning revenge tragedies by providing a more complex, multivalent critical model that makes contemporary the outmoded approaches to this genre. I argue that Mikhail Bakhtin’s theory of carnival, and the ways in which it engages with new historical interpretations of early modern drama, functions as a discursive methodology to open up more creative interpretative possibilities for revenge tragedy. Carnival readings expose gaps in new historicism’s proposed systems of omnipresent power, which deny at every turn the chance for rebellion and individuality. Rather than relegating carnival to an occasional joke, quick aside, or subplot, revenge plays explore carnivalesque concerns, and revengers plot their vengeance with all the aspects of a carnival. In these plays, revengers define subjectivity in terms of the pleasure-seeking, self-serving urges of unofficial culture; negotiations for social change occur in which folk culture avoids a repressive, hierarchal order; and carnival play destabilizes courtly systems that track, classify, pigeonhole, and immobilize individuals.

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Abbattista, Alessandra. "Animal metaphors and the depiction of female avengers in Attic tragedy." Thesis, University of Roehampton, 2018. https://pure.roehampton.ac.uk/portal/en/studentthesis/ANIMAL-METAPHORS-AND-THE-DEPICTION-OF-FEMALE-AVENGERS-IN-ATTIC-TRAGEDY(40f0c5dc-a189-4270-b278-9b99c25e559d).html.

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In the attempt to enrich classical literary criticism with modern theoretical perspectives, this thesis formulates an interdisciplinary methodological approach to the study of animal metaphors in the tragic depiction of female avengers. Philological and linguistic commentaries on the tragic passages where animals metaphorically occur are not sufficient to determine the effect that Attic dramatists would have provoked in the fifth-century Athenian audience. The thesis identifies the dramatic techniques that Aeschylus, Sophocles and Euripides deploy to depict vengeful heroines in animal terms, by combining gender studies of the classical world, classical studies of animals and posthumanism. It rejects the anthropocentric and anthropomorphic views of previous classical scholars who have interpreted the animal-woman metaphor in revenge plots as a tragic expression of non-humanity. It argues instead that animal imagery was considered particularly effective to express the human contradictions of female vengeance in the theatre of Dionysus. The thesis investigates the metaphorical employment of the nightingale, the lioness and the snake in the tragic characterisation of women who claim compensation for the injuries suffered within and against their household. Chapter 1 is focused on the image of the nightingale in comparison with tragic heroines, who perform ritual lamentation to incite vengeance. Chapter 2 explores the lioness metaphor in the representation of tragic heroines, who through strength and protectiveness commit vengeance. Chapter 3 examines the metaphorical use of the snake in association with tragic heroines, who plan and inflict vengeance by deceit. Through the reconstruction of the metaphorical metamorphoses enacted by vengeful women into nightingales, lionesses and snakes, the thesis demonstrates that Attic dramatists would have provoked a tragic effect of pathos. Employed as a Dionysiac tool, animal imagery reveals the tragic humanity of avenging heroines whose voice, agency and deception cause nothing but suffering to their family, and inevitably to themselves.

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Books on the topic "Revenge tragedy"

1

Stevie, Simkin, ed. Revenge tragedy. Houndmills, Basingstoke, Hampshire: Palgrave, 2001.

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Simkin, Stevie, ed. Revenge Tragedy. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5.

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Nurul Farhana Low Bt Abdullah. Revenge tragedy and identity. Birmingham: University of Birmingham, 1999.

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Kerrigan, John. Revenge tragedy: Aeschylus to Armageddon. Oxford: Clarendon Press, 1996.

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5

Cyril, Tourneur. The revenger's tragedy. London: Methuen, 1987.

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Beddoes, Thomas Lovell. The brides' tragedy. Oxford: Woodstock Books, 1993.

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A, Videbaek Bente, ed. Revenge tragedies. Glen Allen, Va: College Pub., 2003.

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Revenge in Attic and later tragedy. Berkeley: University of California Press, 1998.

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Dunne, Derek. Shakespeare, Revenge Tragedy and Early Modern Law. London: Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1007/978-1-137-57287-5.

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Allman, Eileen Jorge. Jacobean revenge tragedy and the politics of virtue. Newark, Del: University of Delaware Press, 1999.

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Book chapters on the topic "Revenge tragedy"

1

Greenberg, Marissa. "Revenge Tragedy." In A New Companion to Renaissance Drama, 403–16. Chichester, UK: John Wiley & Sons, Ltd, 2017. http://dx.doi.org/10.1002/9781118824016.ch29.

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Simkin, Stevie. "Introduction." In Revenge Tragedy, 1–23. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_1.

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Luckyj, Christina. "Gender, Rhetoric and Performance in The White Devil." In Revenge Tragedy, 190–207. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_10.

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Wiseman, Susan J. "’Tis Pity She’s a Whore: Representing the Incestuous Body." In Revenge Tragedy, 208–28. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_11.

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Neill, Michael. "‘What Strange Riddle’s This?’: Deciphering ’Tis Pity She’s a Whore." In Revenge Tragedy, 229–54. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_12.

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Lever, J. W. "Tragedy and State." In Revenge Tragedy, 24–40. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_2.

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Loomba, Ania. "Women’s Division of Experience." In Revenge Tragedy, 41–70. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_3.

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Smith, Molly Easo. "The Theatre and the Scaffold: Death as Spectacle in The Spanish Tragedy." In Revenge Tragedy, 71–87. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_4.

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Maus, Katharine Eisaman. "The Spanish Tragedy, or, The Machiavel’s Revenge." In Revenge Tragedy, 88–106. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_5.

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Dollimore, Jonathan. "The Revenger’s Tragedy: Providence, Parody and Black Camp." In Revenge Tragedy, 107–20. London: Macmillan Education UK, 2001. http://dx.doi.org/10.1007/978-0-230-21397-5_6.

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