Skip to content

Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart

Research output: Chapter in Book/Report/Conference proceedingChapter in a book

Standard

Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart. / Dawson, Lesel; Dawson, Lesel (Editor); McHardy, Fiona (Editor).

Revenge and Gender from Classical to Renaissance Literature. Edinburgh UP, Edinburgh, 2018.

Research output: Chapter in Book/Report/Conference proceedingChapter in a book

Harvard

Dawson, L, Dawson, L (ed.) & McHardy, F (ed.) 2018, Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart. in Revenge and Gender from Classical to Renaissance Literature. Edinburgh UP, Edinburgh.

APA

Dawson, L., Dawson, L. (Ed.), & McHardy, F. (Ed.) (2018). Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart. In Revenge and Gender from Classical to Renaissance Literature Edinburgh UP, Edinburgh.

Vancouver

Dawson L, Dawson L, (ed.), McHardy F, (ed.). Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart. In Revenge and Gender from Classical to Renaissance Literature. Edinburgh UP, Edinburgh. 2018.

Author

Dawson, Lesel; Dawson, Lesel (Editor); McHardy, Fiona (Editor) / Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart.

Revenge and Gender from Classical to Renaissance Literature. Edinburgh UP, Edinburgh, 2018.

Research output: Chapter in Book/Report/Conference proceedingChapter in a book

Bibtex

@inbook{66e88d91b10e4578a6fc8ee5d9bf752f,
title = "Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart",
abstract = "Although revengers have long been likened to artists, devising and controlling the revenge in a way that grants them a renewed sense of control, less attention has been paid to those instances in which the revenge victim refuses to play their ‘part’, disrupting the revenger’s power and authority. In plays such as John Webster’s Duchess of Malfi and John Ford’s The Broken Heart, the victim’s unusual and unexpected response to their suffering changes the nature and meaning of the revenge act. The renewed interest in such instances in noble suffering and self-control, on the stage and on the scaffold, suggests the increased interest in Neostoical ideas of self-mastery, supporting the argument made by Mary Beth Rose that over the early modern period there is a change in the gendering of the heroic, in which the tragic protagonist is increasingly defined by qualities typically seen as ‘feminine’ such as patience, endurance, and steadfastness.",
keywords = "revenge, Revenge tragedy, Gender, Webster, John, The Duchess of Malfi, The Broken Heart, Ford, John",
author = "Lesel Dawson and Lesel Dawson and Fiona McHardy",
year = "2018",
booktitle = "Revenge and Gender from Classical to Renaissance Literature",
publisher = "Edinburgh UP, Edinburgh",

}

RIS - suitable for import to EndNote

TY - CHAP

T1 - Outfacing Vengeance: Heroic Victims in Webster's The Duchess of Malfi and Ford's The Broken Heart

AU - Dawson,Lesel

A2 - McHardy,Fiona

PY - 2018

Y1 - 2018

N2 - Although revengers have long been likened to artists, devising and controlling the revenge in a way that grants them a renewed sense of control, less attention has been paid to those instances in which the revenge victim refuses to play their ‘part’, disrupting the revenger’s power and authority. In plays such as John Webster’s Duchess of Malfi and John Ford’s The Broken Heart, the victim’s unusual and unexpected response to their suffering changes the nature and meaning of the revenge act. The renewed interest in such instances in noble suffering and self-control, on the stage and on the scaffold, suggests the increased interest in Neostoical ideas of self-mastery, supporting the argument made by Mary Beth Rose that over the early modern period there is a change in the gendering of the heroic, in which the tragic protagonist is increasingly defined by qualities typically seen as ‘feminine’ such as patience, endurance, and steadfastness.

AB - Although revengers have long been likened to artists, devising and controlling the revenge in a way that grants them a renewed sense of control, less attention has been paid to those instances in which the revenge victim refuses to play their ‘part’, disrupting the revenger’s power and authority. In plays such as John Webster’s Duchess of Malfi and John Ford’s The Broken Heart, the victim’s unusual and unexpected response to their suffering changes the nature and meaning of the revenge act. The renewed interest in such instances in noble suffering and self-control, on the stage and on the scaffold, suggests the increased interest in Neostoical ideas of self-mastery, supporting the argument made by Mary Beth Rose that over the early modern period there is a change in the gendering of the heroic, in which the tragic protagonist is increasingly defined by qualities typically seen as ‘feminine’ such as patience, endurance, and steadfastness.

KW - revenge

KW - Revenge tragedy

KW - Gender

KW - Webster, John

KW - The Duchess of Malfi

KW - The Broken Heart

KW - Ford, John

M3 - Chapter in a book

BT - Revenge and Gender from Classical to Renaissance Literature

PB - Edinburgh UP, Edinburgh

ER -