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Journal articles on the topic 'Revenge tragedy'

Author: Grafiati

Published: 4 June 2021

Last updated: 26 July 2025

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1

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

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2

Graham, Katherine M. "‘You Mean Some Strange Revenge’." Critical Survey 34, no. 2 (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 strangen

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3

Shodiev, Shahobiddin Sharofiddinovich, and Mukhabbat Alomovna Khakimova. "REVENGE IDEA'S TRANSFORMATION IN "HAMLET" POEM." Eurasian Journal of Academic Research 1, no. 7 (2021): 53–55. https://doi.org/10.5281/zenodo.5571870.

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<em>The given article claims to demonstrate that Shakespeare’s general intention in “Hamlet” was the essential transformation of the well-established canon of the Elizabethan revenge tragedy. In “Hamlet” Shakespeare reforms the revenge tragedy from the Christian point of view.</em>

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4

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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5

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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6

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

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7

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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8

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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9

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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10

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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11

Williams, Tony. "The Osterman Weekend as Revenge Tragedy." Film International 20, no. 3 (2022): 25–35. http://dx.doi.org/10.1386/fint_00170_1.

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12

Hui-chuan Wang. "Revenge Tragedy Meeting City Comedy: Alan Ayckbourn’s The Revengers’ Comedies." Medieval and Early Modern English Studies 17, no. 1 (2009): 121–46. http://dx.doi.org/10.17054/memes.2009.17.1.121.

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13

Lecercle, François. "Violence et politique dans la revenge tragedy." Littératures classiques N°73, no. 3 (2010): 337. http://dx.doi.org/10.3917/licla.073.0337.

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14

Kesler. "Time and Casuality in Renaissance Revenge Tragedy." University of Toronto Quarterly 59, no. 4 (1990): 474–98. http://dx.doi.org/10.3138/utq.59.4.474.

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15

Davidson, P. "Revenge Tragedy: Aeschylus to Armageddon. J Kerrigan." Classical Review 48, no. 2 (1998): 333–35. http://dx.doi.org/10.1093/cr/48.2.333.

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16

Mueller, Martin. "Revenge Tragedy: Aeschylus to Armageddon. John Kerrigan." Modern Philology 97, no. 1 (1999): 76–80. http://dx.doi.org/10.1086/492806.

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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

Long, Zackariah C. "The Spanish Tragedy and Hamlet: Infernal Memory in English Renaissance Revenge Tragedy." English Literary Renaissance 44, no. 2 (2014): 153–92. http://dx.doi.org/10.1111/1475-6757.12025.

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19

Coral Escolà, Jordi. "“Shakespeare’s Plausible Community: The First Act of Titus Andronicus and its Kydian Precedent”." Miscelánea: A Journal of English and American Studies 36 (December 31, 2009): 25–38. http://dx.doi.org/10.26754/ojs_misc/mj.20079760.

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This article re-examines the relationship between Thomas Kyd’s The Spanish Tragedy and Shakespeare’s Titus Andronicus. In the past decades the original credit of these two revenge plays of the 1590s has been restored. However, their parallel rediscovery has obscured the originality of Shakespeare’s first tragedy, which is often presented as an inferior derivative of The Spanish Tragedy. As a result, the historical significance of Shakespeare’s new representation of the self in the community has been insufficiently recognized. Shakespeare assimilated the Kydian discovery of character as the pro

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20

이경호. "The Causes of Revenge in The Spanish Tragedy." Shakespeare Review 46, no. 2 (2010): 259–84. http://dx.doi.org/10.17009/shakes.2010.46.2.003.

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21

KangSeokJu. "The Subversive Desire of English Renaissance Revenge Tragedy." Shakespeare Review 46, no. 4 (2010): 691–707. http://dx.doi.org/10.17009/shakes.2010.46.4.001.

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22

Wymer, Rowland, and Eileen Allman. "Jacobean Revenge Tragedy and the Politics of Virtue." Modern Language Review 98, no. 2 (2003): 433. http://dx.doi.org/10.2307/3737835.

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23

Tiffany, Grace. "Revenge Tragedy: Aeschylus to Armageddon by John Kerrigan." Comparative Drama 31, no. 2 (1997): 326–28. http://dx.doi.org/10.1353/cdr.1997.0029.

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24

Gillies, John. "Calvinism as tragedy in the English revenge play." Shakespeare 11, no. 4 (2013): 362–87. http://dx.doi.org/10.1080/17450918.2013.845598.

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25

Cressler, Loren. "Malcontented Iago and Revenge Tragedy Conventions in Othello." Studies in Philology 116, no. 1 (2019): 73–100. http://dx.doi.org/10.1353/sip.2019.0003.

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26

Steigerwald, Jörn. "Von der Liebestragödie zur Tragödie der Liebe: Jean Racines Phèdre." Volume 62 · 2021 62, no. 1 (2021): 181–210. http://dx.doi.org/10.3790/ljb.62.1.181.

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From Love Tragedy to the Tragedy of Love: Jean Racine’s Phèdre The article focuses on Jean Racine’s last secular tragedy Phèdre and argues that the drama is based, on the one hand, on the French concept of love tragedy, established in the 1630s and reconfigured in the 1650s as a gallant tragedy. On the other hand, Racine radicalises this dramatic concept and fulfils it by combining different models of this dramatic concept in one tragedy. Instead of a modern gallant love tragedy, like Nicolas Pradon’s Phèdre et Hippolyte, Racine stages a tragedy of love that ends with the decline of two (royal

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27

Foakes, R. A., Charles A. Hallett, and Elaine S. Hallett. "The Revenger's Madness: A Study of Revenge Tragedy Motifs." Yearbook of English Studies 15 (1985): 274. http://dx.doi.org/10.2307/3508574.

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28

KERRIGAN, JOHN. "REVENGE TRAGEDY REVISITED: POLITICS, PROVIDENCE AND DRAMA, 1649–1683." Seventeenth Century 12, no. 2 (1997): 207–29. http://dx.doi.org/10.1080/0268117x.1997.10555430.

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29

Spolsky, Ellen. "Laws and Outlaws in Pastoral Comedy and Revenge Tragedy." Critical Analysis of Law 10, no. 1 (2023): 57–75. http://dx.doi.org/10.33137/cal.v10i1.41647.

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The two genres of the title are not usually considered a pair. I argue that they share an important concern, namely, the clash between law and outlawry, city life and country life, abstraction and embodiment. The protagonists of both (often forced by the illegal actions of others) live outside the law and have to make their own laws. They often “take matters into their own hands.” Examples: paintings by Titian, Manet, Guercino, Marvell’s “The Garden,” Tasso’s Aminta, Shakespeare’s Hamlet and late plays, Kyd’s The Spanish Tragedy, the Coen brothers’ “True Grit,” and Jennifer Haley’s The Nether.

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30

Iamharit, Supakarn. "ละครโศกนาฏกรรมแนวล้างแค้น : ศีลธรรมเบื้องหลังความสับสนอลหม่าน (Revenge Tragedy: The Morality Beneath the Mayhem)". Journal of Letters 31, № 1 (2002): 105–24. http://dx.doi.org/10.58837/chula.jletters.31.1.6.

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31

Ablow, Rachel. "Revenge Tragedy: Harriet Martineau, the Haitian Revolution, and Reparations." Critical Inquiry 51, no. 3 (2025): 515–34. https://doi.org/10.1086/734120.

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32

Shortslef, Emily. "Revenge Tragedy and “Extremest Law”: Punishment and Pardon in The Tragedy of Hoffman." Renaissance Drama 52, no. 2 (2024): 203–28. https://doi.org/10.1086/733089.

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33

Coughlan, Patricia. "‘Enter Revenge’: Henry Burkhead and Cola's Furie." Theatre Research International 15, no. 1 (1990): 1–17. http://dx.doi.org/10.1017/s0307883300009482.

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There are very few texts written from the viewpoint of the Catholics in Ireland in the 1640s; among these, A Tragedy of Cold's Furie, OR, Lirenda's Miserie (Kilkenny, 1646), a five-act verse tragedy or tragicomedy, is striking in being a specifically literary, as well as a political, work.Almost nothing is known about Henry Burkhead, whose name appears in various forms and who has been mistakenly conflated with another similar-sounding writer. Anthony a Wood rather slightingly calls Burkhead ‘no Academian, only a Merchant of Bristol’, and Langbaine also notices Cola's Furie, repeating this des

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34

Guagliardo, Ethan John. "The Judas of the Hours: Messianic Horror in The Revenger's Tragedy." ELH 92, no. 2 (2025): 385–412. https://doi.org/10.1353/elh.2025.a961793.

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Abstract: This essay argues that The Revengers Tragedy exemplifies a distinctly early modern brand of horror. Whereas modern horror typically features the breakdown of reason in the face of some incomprehensible outside, this is a horror of intelligibility. Its primary dimension is time, particularly its collapse into the present now or nunc stans from which God's "eternal eye sees through flesh and all." I trace this mode of horror across several contexts, including allegory, revenge drama, and the theology and philosophy of the instant. In conclusion, I suggest how this Calvinist horror of s

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35

Rist, Thomas. "Memorial Revenge at the Reformation(S): Kyd's the Spanish Tragedy." Cahiers Élisabéthains: A Journal of English Renaissance Studies 71, no. 1 (2007): 15–25. http://dx.doi.org/10.7227/ce.71.1.3.

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36

Lee, Chung Eun. "Failed Political Desire in Romantic Revenge Tragedy: Byron’s Marino Faliero." British and American Language and Literature Association of Korea 136 (March 30, 2020): 197–216. http://dx.doi.org/10.21297/ballak.2020.136.197.

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37

Tiffany, Grace. "Revenge Tragedy and the Drama of Commemoration in Reforming England." English Studies 90, no. 6 (2009): 736–37. http://dx.doi.org/10.1080/00138380903181569.

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38

HELZLE, MARTIN. "Seneca and Elizabethan Revenge Tragedy. Aspects of Thomas Kyd’s The Spanish Tragedy and Shakespeare’s Titus Andronicus." Antike und Abendland 31, no. 1 (1985): 137–52. http://dx.doi.org/10.1515/9783110241433.137.

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39

Pollard, Tanya. "What’s Hecuba to Shakespeare?*." Renaissance Quarterly 65, no. 4 (2012): 1060–93. http://dx.doi.org/10.1086/669345.

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AbstractWhen Hamlet reflects on the charged power of the tragic theater, the figure who haunts his imagination is Hecuba, Queen of Troy, whose tragedy came to define the genre in sixteenth-century Europe. As a bereaved mourner who seeks revenge, Hecuba offers a female version of Hamlet. Yet even while underscoring her tragic power, Shakespeare simultaneously establishes a new model of tragic protagonist, challenging the period’s longstanding identification of tragedy with women. In exploring why both Hamlet and Shakespeare are preoccupied with Hecuba, this article argues that ignoring the impa

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40

Clark, Alice. "La mise à mort jouissive de la victime dans Hamlet et dans All the King’s Men." Recherches anglaises et nord-américaines 33, no. 1 (2000): 109–18. http://dx.doi.org/10.3406/ranam.2000.1625.

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This comparative analysis of Shakespeare’s revenge tragedy and Robert Penn Warren’s prose tragedy proposes to highlight the powerful Shakespearian elements which contributed to shaping the theme of transgression in All the Kings Men. In each work a Primal Scene relates some sexual truth about an earlier generation, this truth being held in tension against the political corruption in the main narrative. Thus, the critical approach to these two works pivots on the assumption that primal romance and Fall in Hamlet are linked to the Prelapsarian structure of All the Kings Men.

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41

Ward, Ian. "A Revenger’s Tragedy." Pólemos 12, no. 2 (2018): 339–59. http://dx.doi.org/10.1515/pol-2018-0020.

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Abstract From its very inception modern “law and literature” scholarship has exhibited at least as much interest in what happens in the classroom as it has in what happens in the courtroom. Its principal ambition is educative, its primary audience student. In a strategic sense it hopes that the deployment of literary texts might enhance a law student’s appreciation of the human dimension of legal practice. The first part of this article will set the jurisprudential context, taking a closer look at the evolving legal regulation of “revenge porn,” as well as the critical debate which this regula

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42

Liu, Yinan. "On the Tragedy of Cao Yu’s Yuanye." SHS Web of Conferences 148 (2022): 01015. http://dx.doi.org/10.1051/shsconf/202214801015.

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In the realm of aesthetics, tragedy is known as “the highest stage and crown”, and its artistry is difficult to describe in simple words, as it mostly touches our senses and reveals the supreme value of beauty. Cao Yu wrote his play Yuanye against the backdrop of rural feudal society. The thesis will be based on Aristotle’s theory of tragedy and will talk about its tragic nature from three aspects. Firstly, Cao Yu has created many vivid and tragic minor characters; secondly, the realism and tragedy of the plot details build up multiple dramatic conflicts, amplifying the tragedy and giving the

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43

ZUYENKO, M. "MYTHOPOEIC PARADIGM IN ENGLISH BAROQUE DRAMA (JOHN WEBSTER “THE WHITE DEVIL”)." Philological Studies, no. 33 (April 19, 2021): 56–58. http://dx.doi.org/10.33989/2524-2490.2020.33.228234.

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The article deals with the mythopoeic analysis of the play of revenge “The White Devil” by John Webster. The historical background of the play is also under examination. The tragedy “White Devil” (1612) is known in the translations by I. Aksenov, T. Potnitseva. The genre of tragedy in the XVII th century reflects the writers’ appeal to the biblical text and its transformation in motives, images, stylistic and generic systems, this tradition is particular important for the baroque writers, the constant feature of the English dramaturgy of the XVIIth century is appeal to the antique mythology an

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44

Levy, Michael. "The Duchess of MalfiRevisited: J. R. Dunn's Science Fiction Revenge Tragedy." Extrapolation 43, no. 4 (2002): 456–64. http://dx.doi.org/10.3828/extr.2002.43.4.7.

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45

Wymer, Rowland. "Jacobean Revenge Tragedy and the Politics of Virtue by Eileen Allman." Modern Language Review 98, no. 2 (2003): 433–34. http://dx.doi.org/10.1353/mlr.2003.0036.

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46

Crosbie, Christopher. "Oeconomia and the Vegetative Soul: Rethinking Revenge in The Spanish Tragedy." English Literary Renaissance 38, no. 1 (2008): 3–33. http://dx.doi.org/10.1111/j.1475-6757.2008.00115.x.

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47

SHEERIN, BRIAN. "Patronage and Perverse Bestowal in The Spanish Tragedy and Antonio's Revenge." English Literary Renaissance 41, no. 2 (2011): 247–79. http://dx.doi.org/10.1111/j.1475-6757.2011.01085.x.

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48

Lee, Tonhi. "Sir Thomas More and the Tragedy of Citizenship." Studies in Philology 120, no. 3 (2023): 488–526. http://dx.doi.org/10.1353/sip.2023.a903804.

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Abstract: This essay explores the historical and generic basis for a tragic reading of The Book of Sir Thomas More . The early modern period’s dominant forms of tragedy (such as revenge tragedy and historical tragedy) typically focus on the dynastic-imperial struggles of aristocratic powers against the backdrop of centralization and state-building. Sir Thomas More inverts this representational hierarchy by leaving the monarch un-represented, relegating to the background the well-known factional conflicts that undergirded the Henrician Reformation. Instead, the play dramatizes the history of Tu

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49

Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (2017): 105–19. http://dx.doi.org/10.1515/mstap-2017-0008.

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The Italian Western, Johnny Hamlet (1968), directed by Enzo G. Castellari, draws on the revenge story of Shakespeare’s tragedy Hamlet for plot and characterization. While international distributors of the film downplayed its connection to highbrow Shakespeare, they emphasized the movie’s violent content and actionpacked revenge narrative, which was typical of the western all’italiana. Johnny Hamlet shares similarities with the brutally violent Django (1966), directed by Sergio Corbucci, whose avenging angel protagonist epitomizes the Spaghetti Western antihero. Although the filmmakers of Johnn

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50

HUTSON, LORNA. "Rethinking the ““Spectacle of the Scaffold””: Juridical Epistemologies and English Revenge Tragedy." Representations 89, no. 1 (2005): 30–58. http://dx.doi.org/10.1525/rep.2005.89.1.30.

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ABSTRACT Michel Foucault's analysis of penal torture as part of a regime of truth production continues to be routinely applied to the interpretation of English Renaissance drama. This paper argues that such an application misleadingly overlooks the lay participation that was characteristic of English criminal justice. It goes on to explore the implications of the epistemological differences between continental inquisitorial models of trial and the jury trial as it developed in sixteenth-century England, arguing that rhetorical and political differences between these two models are dramatized i

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