Presenting the first exploration of Christopher Marlowe's complex place in the canon, this collection reads Marlowe's work against an extensive backdrop of repertory, publication, transmission, and ...reception. Wide-ranging and thoughtful chapters consider Marlowe's deliberate engagements with the stage and print culture, the agents and methods involved in the transmission of his work, and his cultural reception in the light of repertory and print evidence. With contributions from major international scholars, the volume considers all of Marlowe's oeuvre, offering illuminating approaches to his extended animation in theatre and print, from the putative theatrical debut of Tamburlaine in 1587 to the most current editions of his work.
Selected byChoicemagazine as an Outstanding Academic Title for 1994
Bartels focuses on Marlowe's preoccupation with "strangers" and "strange" lands, and his use-and subversion-of Elizabethan ...stereotypes. Setting Marlovian drama in the context of England's nascent imperialism, Bartels probes the significance of the alien as the vital presence on the Renaissance stage and within Renaissance society.
Providing a comprehensive survey of Christopher Marlowe's literary career, this Introduction presents an approachable account of the life, works and influence of the groundbreaking Elizabethan ...dramatist and poet. It includes in-depth discussions of all of Marlowe's plays, stressing what was new and revolutionary about them as well as how they made use of existing dramatic models. Marlowe's poems and translations, sometimes marginalised in discussions of his work, are analysed to emphasise their literary importance and political resonances. The book presents a balanced discussion of Marlowe's turbulent life and considers his afterlives: the influence of his work on other writers and examples of how his plays have been performed. In addition to introducing the reader to the historical and religious contexts within which Marlowe wrote, the Introduction stresses the qualities that continue to make his work fascinating: intellectual range, radical irony and an awareness of the dangerously compelling power of theatre.
This study explores the structure of psychological, social and political exchanges that were negotiated between audiences and plays in Elizabethan public theatres in a period ostensibly dominated by ...Shakespeare, but strongly rooted in Marlowe.
A contemporary of William Shakespeare and Ben Jonson, Christopher Marlowe was one of the most influential early modern dramatists, whose life and mysterious death have long been the subject of ...critical and popular speculation. This collection sets Marlowe's plays and poems in their historical context, exploring his world and his wider cultural influence. Chapters by leading international scholars discuss both his major and lesser-known works. Divided into three sections, 'Marlowe's works', 'Marlowe's world', and 'Marlowe's reception', the book ranges from Marlowe's relationship with his own audience through to adaptations of his plays for modern cinema. Other contexts for Marlowe include history and politics, religion and science. Discussions of Marlowe's critics and Marlowe's appeal today, in performance, literature and biography, show how and why his works continue to resonate; and a comprehensive further reading list provides helpful suggestions for those who want to find out more.
Devil in the details Boyce, Niall
The Lancet (British edition),
06/2016, Letnik:
387, Številka:
10036
Journal Article
Recenzirano
It's appropriate that the Royal Shakespeare Company's staging of Christopher Marlowe's Doctor Faustus initially shared the Swan Theatre--and most of its cast--with its production of Don Quixote. Both ...Marlowe's play and Miguel de Cervantes's novel are, in their way, tales of obsession; and in both cases, the protagonists are led along the road to ruin by that most addictive of drugs, the written word. It is a strange paradox that two such influential texts should have, at their core, a strong strain of bibliophobia.
Faust's Wanderings Jackiewicz, Aleksander
Kwartalnik filmowy,
01/2024
125
Journal Article
Recenzirano
A kind-hearted printer who wishes to serve most loyally the appeased Protestantism, but at the same time sees the publication of a book about Faust as a lucrative business venture - he is no longer ...dealing with a doctor or charlatan but with a powerful sorcerer who has taken possession of ancient manuscripts, and through the power of magic was able to bring Helen, the most beautiful woman of Hellada, out of oblivion. ...it is not enough to fight man, the devil himself must be fought, for only by selling one's soul to the prince of Hell could the German doctor wield such power over nature. Til have them fly to India for gold, Ransack the ocean for orient pearl, And search all corners of the new-found world For pleasant fruits and princely délicates; Til have them read me strange philosophy And tell the secrets of all foreign kings; Til have them wall all Germany with brass And make swift Rhine circle fair Wittenberg; Til have them fill the public schools with silk Wherewith the students shall be bravely clad? Having sold his soul to the devil, Marlowe's Faust is not yet able to realise his dreams.
In the late sixteenth century, as England began to assert its integrity as a nation and English its merit as a literate tongue, vernacular writing took a turn for the eccentric. Authors such as John ...Lyly, Edmund Spenser, and Christopher Marlowe loudly announced their ambitions for the mother tongue-but the extremity of their stylistic innovations yielded texts that seemed hardly English at all. Critics likened Lyly's hyperembellished prose to a bejeweled "Indian," complained that Spenser had "writ no language," and mocked Marlowe's blank verse as a "Turkish" concoction of "big-sounding sentences" and "termes Italianate." In its most sophisticated literary guises, the much-vaunted common tongue suddenly appeared quite foreign.InUncommon Tongues, Catherine Nicholson locates strangeness at the paradoxical heart of sixteenth-century vernacular culture. Torn between two rival conceptions of eloquence, savvy writers and teachers labored to reconcile their country's need for a consistent, accessible mother tongue with the expectation that poetic language depart from everyday speech. That struggle, waged by pedagogical theorists and rhetoricians as well as authors we now recognize as some of the most accomplished and significant in English literary history, produced works that made the vernacular's oddities, constraints, and defects synonymous with its virtues. Such willful eccentricity, Nicholson argues, came to be seen as both the essence and antithesis of English eloquence.
Doctor Faustus Deats, Sara Munson
2015, 2010, 2015-04-10, 2015-04-06
eBook
Doctor Faustus, is Christopher Marlowe's most popular play andis often seen as one of the overwhelming triumphs of the English Renaissance. It has had a rich and varied critical history often ...arousing violent critical controversy. This guide offers students an introduction to its critical and performance history, surveying notable stage productions from its initial performance in 1594 to the present andincluding TV, audioand cinematic versions. It includes a keynote chapter outlining major areas of current research on the play and four new critical essays. Finally, a guide to critical, web-based and production-related resources and an annotated biography provide a basis for further individual research.
InDr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theater's newfound secularism and his own reputation for anti-Christian irreverence.The Aesthetics of ...Antichristexplores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponents-paganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowe's work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater.
The Antichrist myth in particular tells of an impostor turned prophet: performing Christ's life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowe's, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason: mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha,The Aesthetics of Antichristproposes a wholesale rereading of pre-Shakespearean drama.
