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Dissertations / Theses on the topic 'Revenge tragedy'
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1
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.
4
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.
5
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.
6
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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Dababneh, Reem. "'Played o 'th' stage' : Jacobean and Caroline revenge tragedy at the Royal Shakespeare Company's Swan Theatre." Thesis, Loughborough University, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.409330.
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Condon, James Joseph. "Playing with lives theatricality, self-staging, and the problem of agency in Renaissance English revenge tragedy /." Diss., [Riverside, Calif.] : University of California, Riverside, 2009. http://proquest.umi.com/pqdweb?index=0&did=1957417671&SrchMode=2&sid=1&Fmt=2&VInst=PROD&VType=PQD&RQT=309&VName=PQD&TS=1269383638&clientId=48051.
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Thesis (Ph. D.)--University of California, Riverside, 2009.Includes abstract. Available via ProQuest Digital Dissertations. Title from first page of PDF file (viewed March 23, 2010). Includes bibliographical references (p. 193-202). Also issued in print.
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Aydogdu, Merve. "Tragedy At Court: An Analysis Of The Relationship Between Jealousy, Honour, Revenge And Love In John Ford." Master's thesis, METU, 2013. http://etd.lib.metu.edu.tr/upload/12615438/index.pdf.
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The aim of this study is to demonstrate the destructive effects of infidelity in the old-aged husband-the young wife marriages which end up with tragedy. In John Ford&rsquos Love&rsquo
s Sacrifice (1633) and Lope de Vega&rsquo
s Punishment Without Revenge (1631), tragedy turns out to be the inevitable consequence of the plays since the motives of jealousy, honour, revenge and love converge and lead people to commit sinful crimes. Within this scope, the first chapter of the thesis is devoted to the historical information about the state of English and Spanish theatres together with the biographies of the playwrights. In the second chapter, the tripartite relationship between jealousy, revenge, and honour is dealt with based upon examples from the primary sources in a historical framework. The reasons and results of these themes are studied through the characters in the plays. The third chapter covers the theme of love, its history and its influence on characters. In this chapter, the nature of love between the characters and its consequences are examined. The conclusion asserts that the old-aged husband and the young wife create a mismatched union and accompanied with the motives of honour, jealousy and revenge, the institution of marriage breeds tragic consequences. The analysis of the above mentioned themes is based on a historical context and it is also concluded that although Love&rsquo
s Sacrifice (1633) and Punishment Without Revenge (1631) belong to the Renaissance age, both plays bear the influences of the Greco-Roman drama tradition. Thus, the similarities and differences between classical and Renaissance tragedy are demonstrated.
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Basso, Ann McCauley. "Bel-Imperia: The (Early) Modern Woman in Thomas Kyd’s Spanish Tragedy." Scholar Commons, 2006. http://scholarcommons.usf.edu/etd/3776.
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At the heart of Thomas Kyd's revenge tragedy The Spanish Tragedy lies an arranged marriage around which all of the other action revolves. Bel-Imperia of Spain has been betrothed against her will to Prince Balthazar of Portugal, but she is no ordinary woman, and she has plans of her own. Bel-Imperia's unwillingness to participate in the arranged marriage is indicative of the rise of the companionate marriage; it represents a rejection of the arranged marriage that dominated upper class society in earlier years.
This study seeks to throw light upon early modern attitudes towards marriage, focusing particularly on the arranged marriage, the companionate marriage, and the state marriage. Additionally, it examines the role of woman as peace-weaver, a practice that dates back as far as the Beowulf manuscript. Using historical as well as literary sources to delineate these forms, I apply this information to a study of the play itself, with an emphasis on its performative value. Since the proposed marriage dictates all of the action of the play, an analysis of the bartered bride, Bel-Imperia, is of particular importance. This essay examines her character in depth as well as her relationships with Andrea and Horatio, who love her; with Lorenzo, the King, and her father, who seek to exploit her; and with Hieronimo, who becomes her partner in revenge. Additionally, I contrast her with Isabella, one of only two other female characters in the play and conclude by delineating how my analysis would affect a performance of the play and by "directing" a hypothetical interpretation of The Spanish Tragedy.
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Auer, Janette Slater William J. "Electra in context: an investigation of a character in fifth century B.C. Athenian tragedy in the social context of the ritual lament and revenge /." *McMaster only, 2005.
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Classen, Birgit. "Malva sp. und Alcea rosea : Charakterisierung der Schleimpolysaccharide sowie strukturelle Untersuchungen der Schleimbehälter und des Malvenrostes (Puccinia malvacearum) /." [S.l. : s.n.], 1997. http://www.gbv.de/dms/bs/toc/226145611.pdf.
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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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Kelly, Joseph L. "William Shakespeare's Parable of "Is" and "Seems": Ironies of God's Providence in Hamlet and Measure for Measure." Digital Archive @ GSU, 2010. http://digitalarchive.gsu.edu/english_theses/89.
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This thesis examines Hamlet and Measure for Measure as related “problem plays.” In these plays, Shakespeare uniquely combines the genre of parable and the literary device of irony as a means to involve his audience in the experience of ordeal and deliverance that both reorients the protagonists’ personal, political, and ultimately theological assumptions and prompts spiritual insight in the spectator. As in a parable, a spiritual dimension opens subtly alongside each story to inform the play’s action and engage the spectator in the underlying theological discourse. Irony invites the audience to see the disparity between pretended or mistaken reality and the spiritual truth—between what “seems” and what “is.” As these complex dramatized parables unfold, potent tapestries of multilayered thematic irony coalesce into providential irony that exalts, rather than defeats, the protagonists and ultimately determines the outcome.
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Barr, Thomas Matthew. "The curs'd instrument : the paradox of the revenger in Elizabethan and Jacobean tragedy." Thesis, University of Ulster, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390055.
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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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Aslett, Michelle. "Fowl feathered fox: Monsters, pipers, families and flocks." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1633.
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Fowl Feathered Fox: Monsters, Pipers, Families and Flocks is a doctoral work consisting of a full-length stage play and an exegesis. An introduction outlines the scope of the doctoral work, while a concluding chapter reflects on research findings and considers staging issues and implications. Appendices include images incorporated into the play’s action as well as photographed excerpts from a series of visual diaries used to document the play’s evolution. The play, Fowl Feathered Fox, explores the nature of delusion, deception and the tragedy of The Beast Within. Borrowing as it does from the traditions of revenge tragedy, comedy and horror, the style of Fowl Feathered Fox is both sensual and sensationalistic. Indeed, by virtue of overstepping traditional ideological, stage and venue boundaries to tap into an audience’s faculties of taste, physical sensation and smell, I aim to confront, seduce and repel on every possible sensory level. Here, in keeping with the conventions of Renaissance revenge tragedies as well as contemporary re-imaginings of the genre in popular culture, a tragic protagonist is forced to behave as a detective in order to put an end to a terrible, taboo curse. As a black comedy however, Fowl Feathered Fox makes light of taboo topics, as the darkness of the subject matter is buoyed by meta-theatrical gags, ironic humour, word-play and brief forays into interpretive dance. In the tradition of horror film and fiction, my eponymous ‘fowl feathered fox’ is a specifically Australian re-imagining of the archetypal shapeshifter, blending the qualities of the wolf in sheep’s clothing, the false prophet, the Pied Piper and the werewolf. Surrealism, with its roots in psychoanalysis, underscores the play’s visual aesthetic: this stage is littered with fearful, surgically invasive and aggressively sexual forms, objects and images. The exegesis, Monsters, Pipers, Families and Flocks, interrogates various mythic, historical and fictional examples of charismatic cult leadership, locating patterns in the paradigmatic nexus shared by monsters, cults and families. A trio of exegetical essays considers the tragic nature of lycanthropy, Nietzsche’s conception of the Apollonian/ Dionysian dichotomy, the socio-cultural dynamics of charismatic cult leadership and the frightening, fascinating phenomenon of pseudologia fantastica. The first exegetical essay explores the lycanthropic and messianic qualities of two real-life malevolent cult leaders: Rock Theriault (Canada) and William Kamm (Australia). The second exegetical essay interrogates the enthralling, intoxicating qualities of the Pied Piper of Hamelin and Greek demi-god Dionysus, finding parallels in tragic revenge narratives wrought by infamous American cult leaders such as Charles Manson and David Berg. Finally, the third exegetical essay examines monstrous, messianic mothers from Greek myth, horror fiction and memoir: specifically, the goddess Demeter, Margaret White from Brian de Palma’s Carrie (1976) and notorious Australian cult leader, Anne Hamilton-Byrne.
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Crosbie, Christopher James. "Philosophies of retribution Kyd, Shakespeare, Webster, and the revenge tragedy genre." 2007. http://hdl.rutgers.edu/1782.2/rucore10001600001.ETD.13463.
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LY, KAI JYE, and 李凱傑. "The Concept of Revenge Tragedy: Trends from Senecan Traits to Contemporary Elizabethan Values." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/6n4y5v.
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博士國立高雄師範大學
英語學系
106
The theme of revenge has always been popular in culture. With its elements of violence, murder, intrigue, madness, and persuasive rhetoric, revenge in visual mediums such as on stage evoke emotion while satisfying the audience’s inner forbidden fantasy. This dissertation will examine the theme of revenge in two popular Renaissance dramas, The Spanish Tragedy and Hamlet. These two dramas are important not only because they were well received by the Renaissance audience, but also they were model samples of the subgenre of tragedy, aptly called revenge tragedies. Revenge tragedies have their origins in Senecan tragedies that date within the classical period, a period many Renaissance scholars studied and emulated. In the Introduction chapter, I will consider the genesis and development of English Renaissance revenge tragedy from the Senecan influence to the contemporary Renaissance consciousness of revenge, personal honor and duty, and concerns about the moral consequences of personal revenge. In Chapter One, I will explore the concept of revenge in the genre of revenge tragedy. The chapter will be a genre study of revenge tragedy from the dramatic elements used by Seneca becoming conventions often used in Renaissance revenge dramas. In Chapter Two, I will present the first example of revenge tragedy in English, The Spanish Tragedy, to illustrate the conventions that Renaissance audiences loved. In Chapter Three, I will use Hamlet, which fits perfectly into the revenge tragedy category and propose that it was a potentially affirmative and heroic form of drama that asserts the belief that the contemporary judiciary system is a better form of justice than the pagan way of revenge. With the popularity of revenge tragedies during the Renaissance, the plays are a cautionary artistic representation of a world without social order and responsibility. Associating revenge to bloodshed and violence insinuates that personal justice is without redemption, thus presenting revenge as a disordered concept based on personal justice and not on social justice. By proposing that Renaissance revenge tragedies show an alternative to the contemporary legal system that is morally, religiously, and ethically affirmative, it will be argued that the endings of the revenge tragedies reassures the institutions of justice are necessary to upkeep social order.
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Rannzwa, Fulufhelo. "Tsenguluso ya likhaulambilu la ndifhedzo ho sedziwa dirama ya 'Zwo Itwa" ya Vho-Mahamba M. A. na "Madombini a ngoho" ya Vho-Milubi N, A." Diss., 2010. http://hdl.handle.net/11602/1053.
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Альохіна, Олександра Антонівна. "Твори Н.Філда у контексті англійської драматургії початку XVII ст." Магістерська робота, 2021. https://dspace.znu.edu.ua/jspui/handle/12345/5450.
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Альохіна О. А. Твори Н. Філда у контексті англійської драматургії початку XVII ст. : кваліфікаційна робота магістра спеціальності 035 "Філологія" / наук. керівник К. М. Василина. Запоріжжя : ЗНУ , 2021. 59 с.UA : Робота викладена на 59 сторінках друкованого тексту. Перелік посилань включає 80 джерел. Об’єкт дослідження: художні пошуки Натана Філда у сфері драматургії. Мета роботи: розкриття особливостей поетики комедій “A Woman is a Weathercock”, “Amends for Ladies” та трагедії “The Fatal Dowry”, написаної у співавторстві з Філіпом Мессінджером, на тлі розвитку якобінської драми. Теоретико-методологічні засади: дослідження літературознавців щодо якобінської драми (Е. А. Верхоселт (1946), Д. Фарлей-Хілз (1988), Ф. Кермод (2005), Е. Расмуссен (2014), Дж. П. Мюррей (2014)) та інші, і з теорії драми (І. Дж. Сміт (2010), Б. Вулленд (2017)) та інші. Отримані результати: якобінська драма, яка органічно вбирає в себе усі елементи англійської драми попередніх епох, у XVII столітті виходить на новий виток свого розвитку. На сцені з’являються комедії звичаїв та комедії масок і дуже популярними стають криваві трагедії помсти які, підпадаючи під вплив барокової естетики, змальовували світ як хаос. До числа авторів якобінської епохи належить і Натан Філд, який чутно реагував на запити тогочасної аудиторії і у своїх творах звертався до актуальних тем. Його комедії “A Woman is a Weathercock”, “Amends for Ladies” та трагедія “The Fatal Dowry”, написана у співавторстві з Філіпом Мессінджером, торкаються різних аспектів життя його сучасників, пропонують цікаві відповіді на одвічні проблеми тогочасся. Звертаючись до прийомів якобінської комедії звичаїв, комедії масок, трагедії помсти та «макарб», автор створює оригінальні зразки драматичного мистецтва, які є цікавим матеріалом для подальшого дослідження.
EN : The work is presented on 59 pages of printed text. The list of references includes 80 sources. The presented thesis is dedicated to the analysis of such a topical problem as the place of N. Field’s Works in the Context of English Drama of the Early XVII C. The object of the work can be defined as the artistic pursuits of Nathan Field in the dramatic sphere. The main aim of the paper is to reveal aesthetic peculiarities of N. Field’s comedies "A Woman is a Weathercock", "Amends for Ladies" and the tragedy "The Fatal Dowry" co-authored with Philip Massinger against the background of the Jacobean theatre. It determined the accomplishment of such objectives as: 1) to clarify the evolution of English theater from the Middle Ages to the Renaissance; 2) to analyze the influence of William Shakespeare's works on the development of English drama; 3) to consider the specifics of the Jacobean literature; 4) to study genre peculiarities of Nathan Field on the material of comedy “A Woman is a Weathercock; 5) to establish poetics of the comedy “Amends for Ladies”; 6) to reveal artistic originality in the tragedy written by Nathan Field and co-authored with Philip Messinger “The Fatal Dowry”. Jacobean drama starts a new round of development in the XVII century. At this time the worldview changes that leads to the evolution of the comedy of manners and “masque” on stage. Popular revenge tragedies fall under the influence of Baroque aesthetics. Among the authors of the Jacobean era Nathan Field occupies a prominent place. His comedies "A Woman is a Weathercock", "Amends for Ladies" and the tragedy "The Fatal Dowry", co-authored with Philip Messinger, touch various aspects of his contemporaries’ lives. By using the techniques of Jacobean comedy of customs and “masque” and revenge tragedy, the author creates examples of dramatic art.