Re-citing Marlowe: Approaches to the DramaAshgate, 2000 - 224 sider Re-citing the available information on Christopher Marlowe, this study seeks to illuminate the preoccupations and pitfalls of previous accounts of the dramatist's canon in an effort to discover, or to elaborate, new areas of investigation. Each chapter considers one of Marlowe's dramatic works in relation to a different critical approach or isue suggested by scholarship's prior treatment of the play. The book consequently operates on two levels: it is a review of a canon which has suffered theoretical neglect; and a blueprint for a more critically sophisticated approach to English literature. |
Inni boken
Resultat 1-3 av 49
Side 30
... actually mean is the reading which cultural consensus has determined at the moment of transmission or reception . For , as McGann explains , the textual authority derived from the notion of the author ' is a social nexus not a personal ...
... actually mean is the reading which cultural consensus has determined at the moment of transmission or reception . For , as McGann explains , the textual authority derived from the notion of the author ' is a social nexus not a personal ...
Side 70
... actually an opportunity for Elizabethan noblemen to decide who should be handed the reins of government next . Inscribing one's name , therefore , need not mean what it superficially appears ; a signature does not express an ...
... actually an opportunity for Elizabethan noblemen to decide who should be handed the reins of government next . Inscribing one's name , therefore , need not mean what it superficially appears ; a signature does not express an ...
Side 72
... actually inflict violence on his rival's body by destroying his signature ; the name and the named are unconnected and hence cannot affect one another . Like Edward I , the name marks its own physical absence from the play ; able to ...
... actually inflict violence on his rival's body by destroying his signature ; the name and the named are unconnected and hence cannot affect one another . Like Edward I , the name marks its own physical absence from the play ; able to ...
Innhold
Words Are What Remain | 1 |
Reading and Writing | 20 |
Underwriting History | 51 |
Opphavsrett | |
6 andre deler vises ikke
Andre utgaver - Vis alle
Vanlige uttrykk og setninger
A. L. Rowse actually Admiral Coligny Aeneas Aeneas's Aeneid argues artistic audience B-text Bakeless Barabas Barabas's Bevington Calyphas canon Carthage's character Christopher Marlowe claims classical consequently create dead death deconstruction Derrida describes Dido Doctor Faustus drama dramatist edition Edward Edward II Elizabethan English explains father Faustus's Gaveston genre Gill Greenblatt Guise Henry's identity imitation initial inscription interpretation Jew of Malta king king's language literary London maintains Marlovian Marlovian criticism Marlovian scholarship Marlowe's play Massacre at Paris meaning Mephistopheles Mortimer Mortimer's murder narrative nature notes notion original originary paradoxically Pembroke's Men play's plays of Doctor political printing prologue Queene of Carthage reading refuses Renaissance renders repeated repetition reveals scene scholar sequel sexual Shakespeare Simon Shepherd stage Steane stereotype structure Tamburlaine plays textual theatre theatrical theories thou tragedy transformation translation Troy speech ultimately University Press Virgil's words writing