Journal articles: '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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6

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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8

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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10

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

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12

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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13

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

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14

Davidson, P. "Revenge Tragedy: Aeschylus to Armageddon. J Kerrigan." Classical Review 48, no. 2 (February 1, 1998): 333–35. http://dx.doi.org/10.1093/cr/48.2.333.

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15

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

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16

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

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17

Steigerwald, Jörn. "Von der Liebestragödie zur Tragödie der Liebe: Jean Racines Phèdre." Volume 62 · 2021 62, no. 1 (October 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) families, produced by the revenge of the goddess of love, Venus. According to this, Phèdre is not an exemplary tragedy of French classicism but rather a radical endpoint of French tragedy in the 17th century.

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18

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

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19

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

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20

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

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21

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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22

Gillies, John. "Calvinism as tragedy in the English revenge play." Shakespeare 11, no. 4 (October 22, 2013): 362–87. http://dx.doi.org/10.1080/17450918.2013.845598.

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23

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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24

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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25

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

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26

Ward, Ian. "A Revenger’s Tragedy." Pólemos 12, no. 2 (September 25, 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 regulation has stimulated. The second will then consider the dramatic presentation of the same issues and arguments in Placey’s play. According to Placey, any “time we write a script, we’re hoping in some way people will listen, that our words might have an effect, that they might shake people.” Evan Placey in “Sexting in Parliament: insights from the writer and director of Girls Like That,” in The Play Ground, March 24, 2014, available at: http://nickhernbooksblog.com/category/nhb-author/evan-placey (last accessed February 2, 2017). The final part will contemplate the extent to which this aspiration is realised in Girls Like That.

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27

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 impact of Greek plays in sixteenth-century England has left a gap in our understanding of early modern tragedy. Attending to Hecuba highlights Shakespeare’s innovations to a genre conventionally centered on female grief. In invoking Hecuba as an icon of tragedy, Shakespeare both reflects on and transforms women’s place in the genre.

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28

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 audience strong sensory stimulation to achieve resonance; finally, its profound theme of revenge is a manifestation of the inferiority of the Chinese peasants under the feudal society the - absurd tradition of “ The son must pay his father’s debts”, which amplifies the tragic effect of the whole play.

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29

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 description and saying the play was never performed. A search of the Bristol city archives has failed to discover any mention of him, which may indicate that he resided in Kilkenny and traded with Bristol; various forms of his surname do, however, occur there, and it seems to be an English, rather than an Irish or ‘Old English’ one. The authors of the three sets of fulsome commendatory verses printed with the play – William Smyth, Paul Aylward, and Daniel Breede – seem even more obscure than Burkhead himself; all that is clear biographically is Burkhead's strong support of the Catholic cause, inferred from the play itself. As for its printing, it is not known whether the Jesuit press which then existed in the city was used, or that run by the Supreme Council of the Catholic confederates; it is highly unusual in being a literary text amidst the political, religious and administrative documents, pamphlets and proclamations which make up the remainder of the output from Kilkenny.

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30

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

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31

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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32

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

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33

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 and the national cultural heritage.

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34

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 (December 31, 1985): 137–52. http://dx.doi.org/10.1515/9783110241433.137.

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35

Ciraulo, Darlena. "Spaghetti Shakespeare: „Johnny Hamlet” and the Italian Western." Multicultural Shakespeare: Translation, Appropriation and Performance 15, no. 30 (June 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 Johnny Hamlet characterized Johnny as a vindicator, they also sought to develop the “broody” aspect of this gunfighter, one based on Shakespeare’s famously ruminating hero. Using innovative film techniques, Johnny Hamlet shows Johnny as a contemplative pistolero.

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36

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

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37

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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38

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

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39

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

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40

Kiss, Attila. "Demetaphorization, Anatomy, and the Semiotics of the Reformation in Early Modern Revenge Tragedy." Studia Anglica Posnaniensia 53, no. 1 (March 1, 2018): 177–201. http://dx.doi.org/10.2478/stap-2018-0008.

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Abstract Reformation theology induced a profound thanatological crisis in the semiotics of the human being and the body. The Protestant Reformation discontinued numerous practices of intercession and communal ritual, and the early modern subject was left vulnerable in the face of death. The English Renaissance stage played out these anxieties within the larger context of the epistemological uncertainties of the age, employing violence and the anatomization of the body as representational techniques. While theories of language and tragic poetry oscillated between different ideas of imitatio (granting priority to the model) and mimesis (with preference for the creative and individual nature of the copy), the new anatomical interest and dissective perspectives also had their effects on the rhetorical practices of revenge tragedies. In the most shocking moments of these plays, rhetorical tropes suddenly turn into grisly reality, and figures of speech become demetaphorized, literalized. In a double anatomy of body and mind, English Renaissance revenge tragedy simultaneously employs and questions the emblematic and poetic traditions of representation, and the ensuing indeterminacy and ambiguity open paths for a new mimesis.

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41

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 in the unfolding action of Shakespeare's Titus Andronicus.

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42

Kendrick, Matthew. "Neostoicism and the Economics of Revenge in Cyril Tourneur’s The Atheist’s Tragedy." College Literature 2014, no. 3 (2014): 7–26. http://dx.doi.org/10.1353/lit.2014.0037.

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43

Jarrett, Joseph. "Quantifying death, calculating revenge: mathematical justice in Henry Chettle's Tragedy of Hoffman." Renaissance Studies 31, no. 4 (August 15, 2016): 549–68. http://dx.doi.org/10.1111/rest.12247.

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44

Иванова, Ирина, and Irina Ivanova. "Loss of femininity by Medea: Reasons and an ethical evaluation." Servis Plus 8, no. 3 (September 1, 2014): 68–80. http://dx.doi.org/10.12737/5540.

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The author of the article seeks to reveal the reasons for the loss of femininity by heroines’ suffering from the Medea complex. To this end, the author considers the various developments of the plot featuring a betrayed woman taking revenge on her husband to be found in mythology, Euripides’ tragedies, Jean Marie Lucien Pierre Anouilh’s dramas, Yuri Petrovich Lyubimov’s theatrical performances at the Taganka Theatre. The author demonstrates that the revenge of mythological Medea is extolled and sanctified by Helios. In «Medea» created in a patriarchy-dominated period, Euripides shows a different attitude: his sympathy for the heroine reveals itself in Medea’s monologue, however, his condemnation of children-destruction by Medea is evident through the chorus cues. The image of the heroine is still elevated and stirs up sympathy. Lyubimov theatrical performance is inspired by Euripides’ tragedy, but the director gives a broad hint at the Medea tragedy repeating itself in the contemporary context. Kama Ginkas’ theatrical performances, emphasis is laid on Medea’s villainy, rather than on a feat of love. The author of the article claims that the evolution of the interpretation of Medea’s image is in tune with the evolution of cultural values over time. The view of Medea as alien to femininity is related by the author to the dominance of patriarchy and Christianity, which the author is agreed with and concludes that currently the image of Medea is to be seen as a negative example which serves to demonstrate that revenge, murder, and lack of maternal duty are incompatible with the concept of femininity. The author proves that the Medea complex identification and its ethics- and aesthetics-informed interpretation are currently of utmost importance.

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Akinwumi Sesan, Azeez, and Akeem Adewale Akinwale. "Reading Ahmed Yerima’s Hard Ground as Tragedy of Blood." Sumerianz Journal of Education, Linguistics and Literature, no. 310 (October 28, 2020): 244–48. http://dx.doi.org/10.47752/sjell.310.244.248.

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Niger Delta oil crisis has been one of the major social, political and economic problems confronting Nigeria. As a result, Nigerians of different arts and professions have been showing concern about this persistent confrontation between the federal government and Niger Delta militant youths. Literary writers have been reflecting this oil crisis in their literary creativity in any of the genres of poetry, drama and prose. Ahmed Yerima is one of the literary writers who have reflected the Niger Delta oil crisis in their literary creativity with the publication of his Niger Delta trilogy (Hard Ground, Little Drops and Ipomu). Hard Ground, the first of the plays in the trilogy is this paper’s primary text. The play uses dramatic device of irony to advance its plot and theme as the tragedy of blood. With critical reading, the play presents tragedy of blood/ revenge tragedy from two levels of interpretation: denotative and connotative/metaphorical. The play’s success is reflected in the playwright’s use of characterisation (as seen in Baba and Nimi) and creative use of irony to advance the plot and to complicate the play’s conflicts.

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46

Manfredi, John, and Wendy Griswold. "Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theatre 1576-1980." Contemporary Sociology 17, no. 1 (January 1988): 94. http://dx.doi.org/10.2307/2069462.

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47

Cook, Ann Jennalie, and Wendy Griswold. "Renaissance Revivals: City Comedy and Revenge Tragedy in the London theatre, 1576-1980." American Historical Review 93, no. 5 (December 1988): 1322. http://dx.doi.org/10.2307/1873589.

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48

Lang, Gladys Engel, and Wendy Griswold. "Renaissance Revivals: City Comedy and Revenge Tragedy in the London Theater, 1576-1980." Social Forces 66, no. 3 (March 1988): 857. http://dx.doi.org/10.2307/2579588.

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49

HATT, CECILIA. "REVENGE TRAGEDY AND THE DRAMA OF COMMEMORATION IN REFORMING ENGLAND by Thomas Rist." New Blackfriars 90, no. 1028 (July 2009): 504–5. http://dx.doi.org/10.1111/j.1741-2005.2009.01310_3.x.

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50

Cutts, David. "WRITING AND REVENGE: THE STRUGGLE FOR AUTHORITY IN THOMAS KYD'S THE SPANISH TRAGEDY." Explorations in Renaissance Culture 22, no. 1 (December 2, 1996): 147–60. http://dx.doi.org/10.1163/23526963-90000181.

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Journal articles on the topic 'Revenge tragedy'

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