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. |
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Side 64
... expression of the refusal of the past to be silenced . The act of decapitation significantly fails to muzzle the outspoken . Instead death , paradoxically , renders the dead more capable of speech . Indeed , in death the traitors do not ...
... expression of the refusal of the past to be silenced . The act of decapitation significantly fails to muzzle the outspoken . Instead death , paradoxically , renders the dead more capable of speech . Indeed , in death the traitors do not ...
Side 93
... expression of grief , and Zenocrate's exclamation of horror at yet another bloody spectacle ' ( I : V.ii.275 ) , is profoundly ambiguous . The full stop in a series of criticisms of the play's protagonist , Tamburlaine's speech is ...
... expression of grief , and Zenocrate's exclamation of horror at yet another bloody spectacle ' ( I : V.ii.275 ) , is profoundly ambiguous . The full stop in a series of criticisms of the play's protagonist , Tamburlaine's speech is ...
Side 173
... expression of self - subverting generic forms , such as burlesque and farce , criticism seems simply to restate T. S. Eliot's influential pronouncement on the play that ' If one takes the Jew of Malta not as a tragedy or as a " tragedy ...
... expression of self - subverting generic forms , such as burlesque and farce , criticism seems simply to restate T. S. Eliot's influential pronouncement on the play that ' If one takes the Jew of Malta not as a tragedy or as a " tragedy ...
Innhold
Words Are What Remain | 1 |
Reading and Writing | 20 |
Underwriting History | 51 |
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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