Elizabeth Cary’s Revenge Tragedy
0
조회
0
다운로드
0
인용
0
참고문헌
키워드
초록
This article argues that Elizabeth Cary’s Tragedy of Mariam can be understood not only as a Senecan closet drama but also as a Renaissance revenge tragedy. Much criticism of Mariam has emphasized how closet drama was a safe choice for Cary as a female author because it promoted private reading rather than public staging. This article, however, argues that such views neglect Cary’s attempt to break away from an allegedly feminine mode of writing and to engage with the genre of revenge tragedy, which was predominantly developed by male playwrights. Cary joined the circle of revenge tragedy authorship and reinvented the genre’s conventions by foregrounding two female avengers, Mariam and Salome, whose anger is not only legitimized but also geared toward establishing female subjectivity. Mariam is also a unique avenger within this genre as her vengeance stimulates the criminal’s sincere repentance and envisions the betterment of the existing society.
Abstract
This article argues that Elizabeth Cary’s Tragedy of Mariam can be understood not only as a Senecan closet drama but also as a Renaissance revenge tragedy. Much criticism of Mariam has emphasized how closet drama was a safe choice for Cary as a female author because it promoted private reading rather than public staging. This article, however, argues that such views neglect Cary’s attempt to break away from an allegedly feminine mode of writing and to engage with the genre of revenge tragedy, which was predominantly developed by male playwrights. Cary joined the circle of revenge tragedy authorship and reinvented the genre’s conventions by foregrounding two female avengers, Mariam and Salome, whose anger is not only legitimized but also geared toward establishing female subjectivity. Mariam is also a unique avenger within this genre as her vengeance stimulates the criminal’s sincere repentance and envisions the betterment of the existing society.
참고문헌 (22)
- Aquinas, Thomas, "The “Summa Theologica” of St. Thomas Aquinas. vol. 6" (1914), Burns Oates & Washbourne
- Aristotle, "The Art of Rhetoric" (1991), Harvard UP
- Bacon, Francis, "Francis Bacon: The Major Works" (1996), Oxford UP
- Beaumont, Francis, "English Renaissance Drama", pp.1141~1214 (2000), Norton
- Beilin, Elaine V., "Redeeming Eve: Women Writers of the English Renaissance" (1987), Princeton UP
- Bevington, David, "English Renaissance Drama" (2000), Norton
- Bevington, David, "English Renaissance Drama", pp.615~620 (2000), Norton
- Bushnell, Rebecca W., "Tragedies of Tyrants: Political Thought and Theater in the English Renaissance" (1990), Cornell UP
- Cary, Elizabeth, "English Renaissance Drama", pp.621~672 (2000), Norton
- Engle, Lars, "Studying Shakespeare’s Contemporaries", pp.222~ (2014), John Wiley & Sons
- Ferguson, Margaret, "Staging the Renaissance: Reinterpretations of Elizabethan and Jacobean Drama" (1991), Routledge
- Findlay, Allison, "A Feminist Perspective on Renaissance Drama" (1999), Wiley-Blackwell
- Frye, Marilyn, "Politics of Reality: Essays in Feminist Theory", pp.84~94 (1983), Crossing Press
- Gutierrez, Nancy A., "Valuing Mariam: Genre Study and Feminist Analysis", Tulsa Studies in Women’s Literature, 10(2), pp.233~251 (1991)
- Kennedy, Gwynne, "Just Anger: Representing Women’s Anger in Early Modern England" (2000), Southern Illinois UP
- Middleton, Thomas, "English Renaissance Drama", pp.1520~1592 (2000), Norton
- Nesler, Miranda Garno, "Closeted Authority in The Tragedy of Mariam", Studies in English Literature 1500–1900, 52(2), pp.363~385 (2012)
- Roberts, Jeanne Addison, "Renaissance Papers 2003", pp.149~166 (2004), Boydell & Brewer
- Seneca, "Anger, Mercy, Revenge", pp.14~132 (2010), U of Chicago P