DOCSLIB.ORG

Kupshspr2012.Pdf (1.320Mb)

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Kupshspr2012.Pdf (1.320Mb) The Sibling Revenge Pattern in 16th – 17th Century Revenge Tragedies Charlotte Kupsh English Blugold Fellowship University of Wisconsin-Eau Claire Background Findings Future Areas of Study Revenge Tragedies Every revenge tragedy studied includes Further study into sibling relationships in the time period Type of tragic drama developed by Seneca the Younger the murder of a sister’s lover carried Popular style during the Renaissance period Patterns involving supporting family members’ roles in out or ordered by her brother as a the revenge act central element of the plot Parent relationships in revenge tragedies Senecan Model for Revenge Tragedies Hamlet Interactions between large and small families Secret murder, typically of a benign ruler Ophelia’s brother murders her lover Hamlet in a duel Family structure in 16th – 17th century life Ghostly visitation of the murder victim to a kinsman as revenge for the suicide of Ophelia and the murder Period of intrigue, disguise, or plotting in which the of her father References murderer and avenger scheme against each other The Revenger’s Tragedy Campbell, Joseph. The Hero with a Thousand Faces. Princeton, Descent into either real or feigned madness by the Brothers Vindice and Hippolito set out to murder the NJ: Princeton UP, 1968. Print. avenger or an auxiliary character Duke but, after killing him in Act III, spend the Dollimore, Jonathan. Radical Tragedy: Religion, Ideology, and Eruption of general violence, often accomplished by a remainder of the play seeking revenge on Lussurioso, Power in the Drama of Shakespeare and His feigned masque or festivity who pursued their chaste sister Contemporaries. Chicago: University of Chicago, 1984. Catastrophe that decimates the dramatis personae, The Spanish Tragedy Print. including the avenger Bel-Imperia’s suitor Balthazar and her brother Houlbrooke, Ralph A. The English Family, 1450-1700. London: Lorenzo violently kill her lover while she is forced to Longman, 1984. Print. watch – an action that drives the remainder of the play Jardine, Lisa. Still Harping on Daughters: Women and Drama in the Age of Shakespeare. Sussex, England: Harvester, 1983. Research Questions Print. Explanations Maus, Katharine Eisaman. Four Revenge Tragedies the Spanish Is there a relationship between family structure and plot Tragedy, the Revenger's Tragedy, the Revenge of Bussy in revenge tragedies? Brother’s Desire to Protect D'Ambois, the Atheist's Tragedy. Oxford [u.a.: Oxford Univ., Familial affection 2008. Print. Shakespeare, William, and Alan Hughes. Can a Senecan model be developed for female Familial honor Titus Andronicus characters in revenge tragedies? Cambridge, UK: Cambridge UP, 2006. Print. Female Sexuality Norms Shakespeare, William, and Susanne Lindgren Wofford. Obedience, chastity, silence Hamlet: Complete, Authoritative Text with Biographical Protection correlated with adherence to norms and Historical Contexts, Critical History, and Essays from Plays Studied Five Contemporary Critical Perspectives. Boston: Period Emphasis on Family Bedford of St. Martin's, 1994. Print. Main Focus Inheritance/Marital Expectations of Brother Webster, John, and René Weis. The Duchess of Malfi and Other Hamlet, William Shakespeare Plays. Oxford: Oxford UP, 2009. Print. The Revenger’s Tragedy, Anonymous The Spanish Tragedy, Thomas Kyd Acknowledgements Supporting Plays I would like to thank the UWEC Blugold Fellowship program and its director Dr. Matthew Evans for funding Titus Andronicus, William Shakespeare and support for this project. The Revenge of Bussy D’ambois, George Chapman I would also like to thank Dr. Jan Stirm, faculty advisor to The Atheist’s Tragedy, Cyril Tourneur the project, for invaluable guidance throughout The Duchess of Malfi, John Webster this research. We thank the Office of Research and Sponsored Programs for supporting this research, and Learning & Technology Services for printing this poster. .
Load more

Recommended publications
  • Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore Pdf, Epub, Ebook
    DUCHESS OF MALFI, THE WHITE DEVIL, THE BROKEN HEART AND TIS PITY SHES A WHORE PDF, EPUB, EBOOK Revd Prof. John Webster,John Ford,Jane Kingsley-Smith | 640 pages | 29 Sep 2015 | Penguin Books Ltd | 9780141392233 | English | London, United Kingdom Duchess of Malfi, the White Devil, the Broken Heart and Tis Pity Shes a Whore PDF Book And we should be thankful to Ben Jonson for writing poetry such as this. Add to cart. In The Broken Heart , John Ford questions the value of emotional repression as his characters attempt to subdue their desires and hatreds in ancient Greece. Heart of Darkness Joseph Conrad. Together with the Penguin volume of Five Revenge Tragedies , edited by Emma Smith, this is the essential sourcebook for drama in the period. Are you happy to accept all cookies? Essential We use cookies to provide our services , for example, to keep track of items stored in your shopping basket, prevent fraudulent activity, improve the security of our services, keep track of your specific preferences e. Bookishjq rated it it was amazing Jun 01, Image Credit: Wikimedia Commons. Cancel Submit. Sign in to Purchase Instantly. Learn about new offers and get more deals by joining our newsletter. Discourses and Selected Writings Epictetus. Your subscription to Read More was successful. Product Details About the Author. Mikhail Bulgakov. Tragedies, vol. How was your experience with this page? You can learn more about how we plus approved third parties use cookies and how to change your settings by visiting the Cookies notice. These four plays, written during the reigns of James I and Charles I, took revenge tragedy in dark and ambiguous new directions.
    [Show full text]
  • Early Modern Culture and Literature: Renaissance Drama
    Carleton University Fall 2012 Department of English Language and Literature ENGL 4304A Renaissance Drama Thurs. 11:35-2:25 (Please confirm location on Carleton Central) Instructor: Dr. David Stymeist Office: 1819 DT Office Phone: TBA Email: [email protected] Office Hours: TBA, or by appointment. Course Description This course is designed to examine of a selection of drama from the English Renaissance. This course will include work by Christopher Marlowe, Thomas Dekker, William Shakespeare, John Webster, Francis Beaumont, and John Ford. These plays will encompass the major dramatic genres of History, Comedy, and Tragedy, as well as a number of sub-genres, such as City Comedy, Satire, Domestic Tragedy, and the Revenge play. The cultural, political and intellectual contexts of individual plays will be discussed in detail, as well as the social and economic place of the stage in early modern England. There will be an emphasis on the commercial development of drama in the period. The course will also investigate how playwrights represent transgression, femininity, homosexuality, social and economic class differences, and criminality in the period. The practice of drama in the period will be examined through various critical and theoretical methodologies, including Feminist historiography, Queer theory, Cultural Materialism, and New Historicism. Classes will consist of a combination of lectures and discussion. I expect every student to attend lectures and come prepared to engage in a lively discussion of the plays. As this is a fourth year course, classes will especially emphasize active learning. The more you are willing to put into the class, the more you will get out of it! Primary Texts Anonymous.
    [Show full text]
  • 2019 Seminar Abstracts: the King's Men and Their Playwrights
    1 2019 Seminar Abstracts: The King’s Men and Their Playwrights Meghan C. Andrews, Lycoming College James J. Marino, Cleveland State University “Astonishing Presence”: Writing for a Boy Actress of the King’s Men, c. 1610-1616 Roberta Barker, Dalhousie University Although scholarship has acknowledged the influence of leading actors such as Richard Burbage on the plays created for the King’s Men, less attention has been paid to the ways in which the gifts and limitations of individual boy actors may have affected the company’s playwrights. Thanks to the work of scholars such as David Kathman and Martin Wiggins, however, it is now more feasible than ever to identify the periods during which specific boys served their apprenticeships with the company and the plays in which they likely performed. Building on that scholarship, my paper will focus on the repertoire of Richard Robinson (c.1597-1648) during his reign as one of the King’s Men’s leading actors of female roles. Surviving evidence shows that Robinson played the Lady in Middleton’s Second Maiden’s Tragedy in 1611 and that he appeared in Jonson’s Catiline (1611) and Fletcher’s Bonduca (c.1612-14). Using a methodology first envisioned in 1699, when one of the interlocutors in James Wright’s Historia Histrionica dreamt of reconstructing the acting of pre-Civil War London by “gues[sing] at the action of the Men, by the Parts which we now read in the Old Plays” (3), I work from this evidence to suggest that Robinson excelled in the roles of nobly born, defiant tragic heroines: women of “astonishing presence,” as Helvetius says of the Lady in The Second Maiden’s Tragedy (2.1.74).
    [Show full text]
  • Jacobean Drama (BA Part1 Eng Hons 2019-22)
    Jacobean Drama (BA Part1 Eng Hons 2019-22) Dr. Vishnulok Bihari Srivastava Asso. Prof. Deptt. of English Rohtas Mahila College Sasaram, VKSU, Ara Jacobean drama presents the deglamourized vision of renaissance in the first half of the 17th century. It is marked by the reign period of James1 who was the successor of Queen Elizabeth to the throne of England. In Greek James is called Jacob from which the term Jacobean drama has been derived. The English society witnessed vital changes on socio-economic, political and religious front in the aftermath of the death of Queen Elizabeth. Peace and tranquillity in society was badly disturbed .Human relationships were receded to the lowest ebb. Nobody was thinking in terms of norms and principles. Reign of terror and anarchy loomed large which crippled the economy severely causing irreparable damage to the state exchequer. On the political horizon the situation further worsened following the differences emerged in the relationship between the king and the parliament. Queen Elizabeth succeeded in winning the confidence of parliament using her talent and insight which his successor lacked. It led to the rift between the two power centres. James1 had firm faith in the concept of divine rights of kingship and considered him the chief arbiter of justice with nobody showing dissent with his jurisdiction .He was even not ready to make any compromise with the parliament on this issue The relationship between the two forces receded to the lowest ebb . They locked horns which other affected the welfare program and created panic in society . The king`s growing apathy and negligence to the interest of the masses enhanced their Page | 1 apprehension that the welfare of the people did not enjoy top priority in his agenda.
    [Show full text]
  • The Duchess of Malfi
    © 2018 ARRÊT SUR SCÈNE / SCENE FOCUS (IRCL-UMR5186 du CNRS) ISSN 2268-977X. Tous droits réservés. Reproduction soumise à autorisation. Téléchargement et impression autorisés à usage personnel. www.ircl.cnrs.fr ”You are welcome to your country”: initiation and re-encounter in the dramatic world of John Webster's The Duchess of Malfi Andrew HISCOCK Bangor University, Wales The discussion which follows pursues one possible reading of the opening scene of John Webster’s most famous tragedy. Following the precedents of a whole sequence of modern editions of the play,1 this analysis will maintain the scene division given in the First Quarto (1623) of the play and view the rhyming couplet (“rearing” / “wearing”) at lines 78-79 as signalling the close of this particular cycle of dramatic action. In an early modern playhouse with no means of drawing a front curtain (a familiar practice now facilitated by subsequent changes to theatre architecture), dramatists might all too frequently exploit this poetic device in order to punctuate an intrigue in scenic terms. This can be the case with Webster’s contemporaries, such as Shakespeare and Middleton, and is certainly regularly (if not uniformly) the case in the tragedy by Webster under discussion and throughout his dramatic oeuvre.2 The structure of the exposition Before entering into the textual detail of the tragedy itself, it soon becomes apparent from the conventions of introduction and commentary being employed on the arrival onstage of Delio and Antonio at its beginning that we are being initiated into this dramatic world with the assistance of a framing device.
    [Show full text]
  • Final Thesis
    Courtly Mirrors: The Politics of Chapman’s Drama Shona McIntosh, M.A. (Hons), M.Phil. Submitted in fulfilment of the degree requirements for a Doctorate in Philosophy to the University of Glasgow Department of English Literature, Faculty of Arts November 2008 2 Contents Abstract .................................................................................................. 4 Acknowledgements.................................................................................. 5 Author’s declaration ................................................................................ 6 Abbreviations .......................................................................................... 7 Chapter 1................................................................................................ 8 ‘Spirit to Dare and Power to Doe’: George Chapman at the Jacobean Court ............................................................................................................... 8 Modern Literary Criticism and George Chapman’s Drama .................. 14 General Studies of Chapman’s Drama............................................. 14 Chapman’s Ethics and Philosophy .................................................. 19 Political Readings of Chapman’s Work............................................. 27 Court Masques and Court Politics ................................................... 35 Themes of Sexuality and Gender in Chapman Criticism .................. 36 Text and Canon: Authorship, Dating and Source Material ............... 38 Radical
    [Show full text]
  • Why the Knight of the Burning Pestle Flopped at Blackfriars in 1607
    Early Theatre 15.2 (2012) Brent E. Whitted Staging Exchange: Why The Knight of the Burning Pestle Flopped at Blackfriars in 1607 Early modern plays in London that didn’t make it — hopeful additions to a company’s repertory that evidently flopped at the first performance or had a reputedly short run — are receiving renewed interest. Scholars devote much attention to interpreting plays that had a documented popular following, but what is perhaps more revealing of a culture’s priorities and mores are its objects of scorn and derision, particularly when these are popular forms of entertainment. Some playwrights, such as John Webster, who had a cantan- kerous relationship with some of his audiences, expressed their grievances in print. In the introduction to the 1612 published version of The White Devil, Webster identifies a variety of reasons for its failure on stage aside from ‘the incapable multitude’ whose ‘breath’ was ‘able to poison’ its success: it was acted in so dull a time of winter, presented in so open and black a theatre, that it wanted (that which is the only grace and setting-out of a tragedy) a full and understanding auditory; and that since that time I have noted, most of the people that come to that playhouse resemble those ignorant asses (who, visiting stationers’ shops, their use is not to inquire for good books, but new books), I present it to the general view with this confidence: Nec rhoncos metues maligniorum, Nec scombris tunicas dabis molestas.1 This kind of negative publicity in print reappeared one year later with the first edition of Francis Beaumont’s play The Knight of the Burning Pestle.2 In this case, however, the apology was in the form of a prefatory letter from the play’s publisher, Walter Burre, to ‘HIS MANY WAIES ENDEERED FRIEND Maister Robert Keysar’, who managed the Blackfriars during the play’s fatal debut there in 1607.3 This letter shares Webster’s impatience with an audience ostensibly incapable of appreciating the play’s clever wit: 111 EET15-2.inddT15-2.indd 111111 112/07/122/07/12 11:20:36:20:36 PPMM 112 Brent E.
    [Show full text]
  • So We Are Talking Roughly About Twenty‐Five Years of Theatre. Roughly, Because the Tendencies That Characteriz
    So we are talking roughly about twenty‐five years of theatre. Roughly, because the tendencies that characterize Jacobean theatre started before James I came to the throne (1603, died 1625) around the year 1599 – the year when the Lord Chamberlain’s Men relocated their theatre from Shoreditch to Southwark (on the southern bank of the Thames) and called it “The Globe”, the year when the private theatre of Paul’s boys was reopened, and a little later the Lord Chamberlain’s Men got hold of the Blackfriars theatre. These developments brought about an unprecedented avalanche of play‐writing and dramaturgical innovation that made the Jacobean period one of the most dynamic and spectacular periods in theatre history as we know it. The period also established a new generation of playwrights: the most prominent of whom are Ben Jonson, John Marston, George Chapman, Thomas Middleton, John Webster, Francis Beaumont and John Fletcher – who worked alongside, competed with, collaborated and learned from William Shakespeare – the major figure that continued to sway the English stage from the Elizabethan well into the Jacobean period. 1 Of course, at the beginning of the period the most successful playwright in London was Shakespeare. So far, his fame rested mainly on the series of history plays: the two tetralogies (Henry VI, Parts I‐III and Richard III; and Richard II, Henry IV, Parts I‐II and Henry V) and King John; and his witty romantic comedies that Queen Elizabeth reportedly liked so much: e.g. Love’s Labour’s Lost, A Midsummer Night’s Dream, Much Ado About Nothing, As You Like It.
    [Show full text]
  • John Webster - Poems
    Classic Poetry Series John Webster - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive John Webster(1578 - 1632) John Webster was an English Jacobean dramatist best known for his tragedies The White Devil and The Duchess of Malfi, which are often regarded as masterpieces of the early 17th-century English stage. He was a contemporary of <a href="http://www.poemhunter.com/william-shakespeare/">William Shakespeare</a>. <b>Biography</b> Webster's life is obscure, and the dates of his birth and death are not known. His father, a coach maker also named John Webster, married a blacksmith's daughter named Elizabeth Coates on 4 November 1577, and it is likely that Webster was born not long after in or near London. The family lived in St. Sepulchre's parish. Father John, and Uncle, Edward Webster, were Freemen of the Merchant Taylors' Company and Webster attended Merchant Taylors' School in Suffolk Lane, London. On 1 August 1598, "John Webster, lately of the New Inn" was admitted to the Middle Temple, one of the Inns of Court; in view of the legal interests evident in his dramatic work; this is possibly the playwright. Webster married the 17-year-old Sara Peniall on 18 March 1606, and their first child, John, was baptised at the parish of St Dunstan-in-the-West on 8 March 1605 or 1606. Bequests in the will of a neighbour who died in 1617 indicate that other children were born to him. Most of what is otherwise known of him relates to his theatrical activities.
    [Show full text]
  • Drama and Poetry Pre-1900 Summer 2017 Examination Series Version 1
    Qualification Accredited Oxford Cambridge and RSA A LEVEL Exemplar Candidate Work ENGLISH LITERATURE H472 For first teaching in 2015 H472/01 Drama and poetry pre-1900 Summer 2017 examination series Version 1 www.ocr.org.uk/english A Level English Literature Exemplar Candidate Work Contents Introduction 3 Section 2 - Drama and poetry pre-1900 85 Section 1 - Shakespeare 4 John Webster: The Duchess of Malfi and Twelfth Night 4 John Milton: Paradise Lost Books 9 & 10 85 Question 6(a) - Level 6 response 5 Question 7 - Level 6 response 85 Question 6(b) - Level 6 response 10 Henrik Ibsen: A Doll’s House and Geoffrey Coriolanus 15 Chaucer: The Merchant’s Prologue and Tale 92 Question 1(a) - Level 6 response 17 Question 8 - Level 6 response 92 Question 1(b) - Level 6 response 20 Oscar Wilde: An Ideal Husband and Geoffrey The Tempest 25 Chaucer: The Merchant’s Prologue and Tale 97 Question 5(a) - Level 6 response 27 Question 10 - Level 6 response 97 Question 5(b) - Level 6 response 29 Henrik Ibsen: A Doll’s House and Geoffrey Hamlet 31 Chaucer: The Merchant’s Prologue and Tale 100 Question 2(a) - Level 6 response 33 Question 11 - Level 6 response 100 Question 2(b) - Level 6 response 37 Question 2(a) - Level 6 response 41 Oliver Goldsmith: She Stoops to Conquer Question 2(b) - Level 6 response 43 and Alfred, Lord Tennyson: Maud 104 Question 7 - Level 6 response 104 Measure for Measure 45 Question 3(a) - Level 6 response 47 Oscar Wilde: An Ideal Husband and Question 3(b) - Level 5 response 49 Samuel Taylor Coleridge: Selected Poems 109 Question 12
    [Show full text]
  • Thomas Middleton's Legal Duel: a Cognitive Approach
    CO Thomas Middleton’s Legal Duel: A Cognitive Approach by John-Wilhelm Vinje The close performative and linguistic aspect - together with the socio-cultural relationship and historical interpretation - between a court of law and a law-trial scene seen in a play is evident as their historical performative expression frequently seems to overlap. With socially accepted and embedded rites and roles, a dramatic legal scene can be interpreted as a critique of the way the juridical system in Early Modern London became more and more corrupt. The scenes are constructed of a range socio-cultural language that performed on a social stage. How, may one ask, does a performance of a trial scene and the use of cognitive metaphoric language influence the way Jacobean society can be interpreted? I will argue that the blending of social spaces seen in these cognitive metaphors is interpretatively multilayered and function as vivid and complex metaphors and social comments. The plot structure found in Thomas Middleton’s play The Phoenix, and the allegorical character compositions, outlines the socio-political impact in contemporary Jacobean London. I approach the textual and conceptual representation of order in society, and here specifically the legal and bureaucratic discourses, from a combined angle of cognitive metaphor theory and historicism. Cognitive structures and metaphoric architecture form some of the basis for innovative creativity, such as information processing and synthesising of simple metaphors into complex structures of allegorical stories and personifications of socio-political functions. With this type of cognitive metaphor reading a renewed understanding of how metaphoric language of the theatre and theatrical representation of Early Modern legal society function may be achieved.
    [Show full text]
  • Editions of Early Modern Drama Used by TS Eliot
    Editions of Early Modern Drama Used by T. S. Eliot: A Resource Kit Kumiko Toda To cite this version: Kit Kumiko Toda. Editions of Early Modern Drama Used by T. S. Eliot: A Resource. Resources for American Literary Study, Pennsylvania State University Press, 2019, 41 (2), pp.262-284. 10.5325/re- soamerlitestud.41.2.0262. hal-02452331 HAL Id: hal-02452331 https://hal.archives-ouvertes.fr/hal-02452331 Submitted on 25 Jan 2020 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. Kit Kumiko Toda VERSION PRIOR TO COPYEDITING. FOR FINAL CORRECTED VERSION? SEE 10.5325/resoamerlitestud.41.2.0262 1 T.S. Eliot’s Editions of Elizabethan and Jacobean Plays In the 1928 introduction for Ezra Pound’s Selected Poems, Eliot discussed, in passing, how his own poetic voice had been formed: ‘The form in which I began to write, in 1908 or 1909, was directly drawn from the study of Laforgue together with the later Elizabethan drama’ (Eliot, ‘Introduction’ 8).1 In Eliot’s works there are numerous allusions and direct quotations from Elizabethan and Jacobean drama, and the more ineffable yet pervasive effects of these sources—in the tone, the cadence and the imaginative world evoked in his poetry—are also evident.
    [Show full text]