Relevant bibliographies by topics / Spanish tragedy (Kyd, Thomas)

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Academic literature on the topic 'Spanish tragedy (Kyd, Thomas)'

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Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Spanish tragedy (Kyd, Thomas)"

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Gunby, David. "Beyond 'The Spanish Tragedy': A Study of the Works of Thomas Kyd by Thomas Kyd (review)." Modern Language Review 98, no. 4 (October 2003): 956–57. http://dx.doi.org/10.1353/mlr.2003.a827399.

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Hunter, Dianne M. "The Spanish Tragedy Redux." Language and Psychoanalysis 7, no. 1 (July 31, 2018): 23–34. http://dx.doi.org/10.7565/landp.v7i1.1581.

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An object-relations concept of transmission of turbulence illuminates the phantom structure of Thomas Kyd’s Elizabethan metatheatrical play The Spanish Tragedy and my response to it. In 1972, interpreting the arbor imagery and the rhetoric of reversal and self-cancellation in the play, I wrote, “Kyd is his father attacking himself in the womb he is in”. After researching my suppressed family history, this peculiar sentence suggested to me unconscious knowledge of a run of murders in my family line, going back to the 1760 Long Cane Massacre of Irish settlers by Cherokee Indians in what is now South Carolina; continuing in the 1799 murder of Major William Love near what is now Harpe’s Head, Kentucky; the suicide of my maternal grandfather in Philadelphia in 1931; and culminating in a Mafia-style execution of my father near Cleveland, Ohio in 1943. Objectification of violence drives Hieronimo and informs this essay.
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Gunby, David, and Thomas Kyd. "Beyond 'The Spanish Tragedy': A Study of the Works of Thomas Kyd." Modern Language Review 98, no. 4 (October 2003): 956. http://dx.doi.org/10.2307/3737945.

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Gearhart, Stephannie Suzanne, and Lukas Erne. "Beyond the Spanish Tragedy: A Study of the Works of Thomas Kyd." Sixteenth Century Journal 34, no. 3 (October 1, 2003): 877. http://dx.doi.org/10.2307/20061594.

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McCabe, R. A. "Review: Beyond The Spanish Tragedy: A Study of the Works of Thomas Kyd." Review of English Studies 54, no. 216 (September 1, 2003): 525–26. http://dx.doi.org/10.1093/res/54.216.525.

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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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Rebetz, Jonathan S. "The Price That Women in Renaissance Drama Pay for Taking Initiative." Acta Neophilologica 54, no. 1-2 (December 7, 2021): 5–14. http://dx.doi.org/10.4312/an.54.1-2.5-14.

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The article is a close reading of Isabella’s soliloquy in act IV of The Spanish Tragedy by Thomas Kyd. Pointing at the difference between the role of women in Early Modern re­ality and their function in contemporary plays, it demonstrates the perversity of a society where women were regularly marginalized and where, even in theatre, their transgressions of the boundaries imposed on them by the patriarchal social apparatus led to extremely unfavourable repercussions. Isabella, emotionally crushed by the foul murder of her son, decides in her helplessness to take her own life. In a world dominated by men, she does not quietly accept her passive role, but works within its limitations to become a character that takes action, albeit action that ends her life. Before making the symbolic gesture of stabbing herself, she exclaims against the circumstances which drove her to it. Her speech can be seen as one of the climactic points of the play.
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Voros, Sharon D. "Feminine Symbols of Empire in Thomas Kyd and Pedro Calderon: "The Spanish Tragedy" and "De un Castigo Tres Venganzas"." Pacific Coast Philology 27, no. 1/2 (September 1992): 145. http://dx.doi.org/10.2307/1316722.

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Lopes, Renato Gonçalves. "A PLATEIA SOBRE O PALCO: A METATEATRALIDADE DO INÍCIO DA IDADE MODERNA NA INGLATERRA." Letras Escreve 7, no. 3 (May 22, 2018): 09. http://dx.doi.org/10.18468/letras.2017v7n3.p09-33.

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<p>O presente artigo propõe o estudo da dramaturgia inglesa do início da idade moderna sob a perspectiva do “mundo como um palco”, entendido como protótipo do metateatro, com enfoque crítico na definição de Lionel Abel e no estudo de objetivos teleológicos de Anne Righter, <em>Shakespeare and the Idea of the Play</em>. Tratada como um princípio essencial do teatro do período, a recorrente metateatralidade é apontada em diferentes recursos (a “peça dentro da peça”, a descrição da existência em termos cênicos) de diversas funções dramáticas (uma ruptura no ficcional, revelações importantes do enredo, reflexão sobre o espelhamento do palco), com o que instiga a análise e possibilita a identificação de elementos que demonstrem as qualidades dramatúrgicas, potencialidades cênicas e o contexto de produção de peças. <em>The Spanish Tragedy</em>, de Thomas Kyd, é vista como primordial no fundamento metateatral da dramaturgia em questão e é a principal referência a partir da qual se olha para usos e desdobramentos do metateatro na contemporaneidade de Shakespeare.</p>
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Tarek, A. Alkhaleefah. "The Senecan Tragedy and its Adaptation for the Elizabethan Stage: A Study of Thomas Kyds The Spanish Tragedy." International Journal of English and Literature 6, no. 9 (September 30, 2015): 163–67. http://dx.doi.org/10.5897/ijel2014.0710.

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Dissertations / Theses on the topic "Spanish tragedy (Kyd, Thomas)"

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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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Ponce, Timothy Matthew. "The Hybrid Hero in Early Modern English Literature: A Synthesis of Classical and Contemplative Heroism." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1062882/.

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In his Book of the Courtier, Castiglione appeals to the Renaissance notion of self-fashioning, the idea that individuals could shape their identity rather than relying solely on the influence of external factors such as birth, social class, or fate. While other early modern authors explore the practice of self-fashioning—Niccolò Machiavelli, for example, surveys numerous princes identifying ways they have molded themselves—Castiglione emphasizes the necessity of modeling one's-self after a variety of sources, "[taking] various qualities now from one man and now from another." In this way, Castiglione advocates for a self-fashioning grounded in a discriminating kind of synthesis, the generation of a new ideal form through the selective combination of various source materials. While Castiglione focuses on the moves necessary for an individual to fashion himself through this act of discriminatory mimesis, his views can explain the ways authors of the period use source material in the process of textual production. As poets and playwrights fashioned their texts, they did so by consciously combining various source materials in order to create not individuals, as Castiglione suggests, but characters to represent new cultural ideals and values. Early moderns viewed the process of textual, as well as cultural production, as a kind of synthesis. Creation through textual fusion is particularly common in early modern accounts of the heroic, in which authors synthesize classical conceptions of the hero, which privilege the completion of martial feats, and Christian notions of the heroic, based on the contemplative nature of Christ. In this dissertation, I demonstrate how Thomas Kyd in The Spanish Tragedy (1585), Edmund Spenser in The Faerie Queene (1590), William Shakespeare in Titus Andronicus (1594), and John Milton in A Mask Presented at Ludlow Castle (1632) syncretized classical and Christian notions of the heroic ideal in order to comment upon and shape political, social, and literary discourses. By recognizing this fusion of classical heroism with contemplative heroism, we gain a more nuanced understanding of the reception of classical ideas within an increasingly secular society.
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Basso, Ann McCauley. "Bel-imperia : the (early) modern woman in Thomas Kyd's Spanish Tragedy." [Tampa, Fla] : University of South Florida, 2006. http://purl.fcla.edu/usf/dc/et/SFE0001458.

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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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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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Thompson, Maley Holmes. "The Shakespearean additions to the 1602 Spanish tragedy." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3542.

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If Shakespeare contributed the additions to the 1602 edition of Thomas Kyd's The Spanish tragedy, he did so at the time he was writing Hamlet. The additions were written anonymously, but contemporary references to playwrights and their works, publication records, and documented theatrical transactions have provoked the authorship controversy for centuries. Recent studies have attempted "fingerprinting” and "DNA" analysis of verbal structures to solve the case once and for all, but this study moves beyond the (impossible) task of trying to "prove" that Shakespeare wrote the additions and instead seeks to recreate a hypothetical scenario to show why and how Shakespeare may have written them. Using the loose structure of a modern recreation of a cold-case crime, this study contextualizes the additions and the authorship controversy they have inspired, situating the case in its earlier manifestations and in present-day criticism. It will be shown why Shakespeare would have been the ideal candidate to revise The Spanish tragedy: he was familiar with Kyd's work, was known for revitalizing older works, knew the players, and was a writer for hire. It will be argued that the publisher of the additions, Thomas Pavier, followed Shakespeare throughout his career and saw a marketing opportunity to capitalize on three trends: title pages that advertised newness, nostalgia for old texts, and a market for Shakespearean language. This essay will trace the hypothetical steps to see how Shakespeare's additions might have been written, dispersed, rehearsed, acted, and printed. Ultimately, the additions will be situated as a hypothetical middle step between Kyd’s Ur-Hamlet, The Spanish tragedy, and Shakespeare's Hamlet.
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Turner, Timothy Adrian 1981. "Torture and the drama of emergency : Kyd, Marlowe, Shakespeare." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1041.

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Torture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of early modern torture and makes it central to an account of the anti-torture politics of the English stage. More people were tortured in the 1580s and 1590s than at any other time in England's history, and this sudden increase generated a backlash in the form of calls for the protection of liberties. Chapters on plays by Thomas Kyd, Christopher Marlowe, and William Shakespeare show how theater contributed to this backlash by means of its unique ability to present on the public stage the otherwise private suffering characteristic of state torture. Above all, these playwrights alerted audiences to the dangers posed by the concentration of absolute power in the hands of the monarch. The introduction and first chapter of Torture and the Drama of Emergency demonstrate that although torture was unknown to common law, it was executed in the context of a state of emergency. The second chapter presents Kyd's The Spanish Tragedy as resistance literature: rather than critiquing Spanish cruelty, as its setting implies, the play indicts English torture. Kyd uses the genre of revenge tragedy, enormously popular after and because of his play, to argue that torture is a form of revenge the state itself might carry out. Chapter three, on 1 and 2 Tamburlaine, argues that Tamburlaine transforms the world into a military camp by extending martial law to everyone, everywhere. Marlowe's portrayal of the creation and rise of this totalitarian regime depicts the nightmarish consequences for the people when the state's power to extend martial law remains unchecked. The final chapter, on King Lear, argues that in his most pessimistic play Shakespeare suggests there is no escape from the state's ability to seize absolute power in times of crisis. Lear's moving but tenuous declaration of human rights remains a dream that cannot survive the state of emergency created when he divides the kingdom.
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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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Cooper, Keegan. "“Here Lay My Hope": attribution, collaboration, and the authorship of the third addition to The Spanish Tragedy." Thesis, 2016. https://doi.org/10.7912/C2JP9Q.

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Indiana University-Purdue University Indianapolis (IUPUI)
The authorship of the five additions to Thomas Kyd’s The Spanish Tragedy remains a conundrum. Ben Jonson was first thought responsible, but a majority of scholars argue against his involvement. Other candidates have been proposed, namely Thomas Dekker, Thomas Heywood, William Shakespeare, and John Webster. Past attribution studies have mainly focused on Shakespeare due to the fourth addition, the Painter’s Scene, which has been perceived to exhibit Shakespearean quality. John Nance’s lexical study of the fourth addition makes a most compelling case: Shakespeare’s hand is almost certainly present. Warren Stevenson, Hugh Craig, Brian Vickers, and Douglas Bruster have also supported an attribution to Shakespeare; however, their research errs in assuming a single author wrote all five of the additions. This assumption is disproven by Gary Taylor’s work on the first addition, which is the first to identify Heywood, not Shakespeare, as its likely author. Taylor’s conclusion emphasizes that the additions could embody revisions by more than one playwright, such as in the case of Sir Thomas More. Therefore, the authorship of the other additions must remain conjectural until further study. My thesis is the first to independently explore the third addition’s authorship, and based on lexical evidence, the following analysis disproves claims of Shakespeare’s presence within the third addition.
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Books on the topic "Spanish tragedy (Kyd, Thomas)"

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Company, Royal Shakespeare. The Spanish tragedy by Thomas Kyd. [Stratford-upon-Avon]: Royal Shakespeare Company, 1997.

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Kyd, Thomas. The Spanish tragedy. Arlington Heights, Ill: Harlan Davidson, 1990.

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Erne, Lukas. Beyond "The Spanish tragedy": A study of the works of Thomas Kyd. Manchester, U.K: Manchester University Press, 2001.

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Kyd, Thomas. The Spanish tragedy. Arlington Heights, Ill: Harlan Davidson, 1990.

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Kyd, Thomas. The Spanish tragedy. London: Penguin, 1998.

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Kyd, Thomas. The Spanish tragedy. 2nd ed. London: A & C Black, 1989.

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R, Mulryne J., ed. The Spanish tragedy. London: A. & C. Black, 1985.

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M, Bevington David, ed. The Spanish tragedy. Manchester: Manchester University Press, 1996.

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R, Mulryne J., ed. The Spanish tragedy. 2nd ed. London: A & C Black, 2003.

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Barber, C. L. Creating Elizabethan tragedy: The theater of Marlowe and Kyd. Chicago: University of Chicago Press, 1988.

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Book chapters on the topic "Spanish tragedy (Kyd, Thomas)"

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McAlindon, T. "Thomas Kyd: The Spanish Tragedy." In English Renaissance Tragedy, 55–81. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-10180-1_2.

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Kluge, Walter. "Kyd, Thomas: The Spanish Tragedy." In Kindlers Literatur Lexikon (KLL), 1–2. Stuttgart: J.B. Metzler, 2020. http://dx.doi.org/10.1007/978-3-476-05728-0_8920-1.

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Barker, Simon, and Hilary Hinds. "Thomas Kyd, The Spanish Tragedy." In The Routledge Anthology of Renaissance Drama, 35–36. London: Routledge, 2003. http://dx.doi.org/10.4324/9780203446584-6.

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Haekel, Ralf. "16. Thomas Kyd, The Spanish Tragedy (c. 1587)." In Handbook of English Renaissance Literature, edited by Ingo Berensmeyer, 331–51. Berlin, Boston: De Gruyter, 2019. http://dx.doi.org/10.1515/9783110444889-017.

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"The Spanish Tragedy (1585-87)." In The Collected Works of Thomas Kyd, edited by Brian Vickers, 75–238. Boydell & Brewer Ltd, 2024. http://dx.doi.org/10.2307/jj.6380580.9.

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"THE SPANISH TRAGEDY Edited by Brian Vickers." In The Collected Works of Thomas Kyd, 75–238. Boydell and Brewer, 2024. http://dx.doi.org/10.1515/9781805432517-007.

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Crosbie, Christopher. "Oeconomia and the Vegetative Soul: Thomas Kyd’s Naturalisation of Revenge in the Spanish Tragedy." In Revenge Tragedy and Classical Philosophy on the Early Modern Stage, 41–87. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474440264.003.0002.

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This chapter uncovers a lost philosophical substructure for Thomas Kyd’s The Spanish Tragedy, one which shapes the play's central class antagonisms. Through his sophisticated revision of Aristotelian faculty psychology, Kyd appropriates early modern understandings of the vegetative soul – the imperceptible source of all reproduction, nutrition, and growth inherent in all living things – to reveal middling ambition as a natural phenomenon. By presenting the latent desire for growth and development as the consequence of an innate psychology, Kyd’s play transforms revenge into an understandable outgrowth of thwarted ambition, a type of reproduction by absence, when all lawful means of material advancement become foreclosed. Revenge thus appears throughout The Spanish Tragedy as instinctively reproductive, a naturalization of retribution accomplished via the dramatist’s clever situation of the revenge narrative within a complex, though accessible, ontological framework that subtly exerts its force on the audience throughout the play.
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Calvo, Clara. "How Spanish is The Spanish Tragedy?" In Doing Kyd. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526108944.00018.

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Steenbergh, Kristine. "Gendering revenge in The Spanish Tragedy." In Doing Kyd. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526108944.00013.

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Hoenselaars, Ton, and Helmer Helmers. "The Spanish Tragedy and revenge tragedy in seventeenth-century Britain and the Low Countries." In Doing Kyd. Manchester University Press, 2018. http://dx.doi.org/10.7765/9781526108944.00020.

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