Re-citing Marlowe: Approaches to the DramaRe-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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Page 88
... words ' ( I : II.iii.25 ) . Tamburlaine's working words have become the subject of much critical attention . As early as the 1960s , scholars have noted the plays ' manipulation of conventional processes of signification . In an article ...
... words ' ( I : II.iii.25 ) . Tamburlaine's working words have become the subject of much critical attention . As early as the 1960s , scholars have noted the plays ' manipulation of conventional processes of signification . In an article ...
Page 91
... words , which are always altered whenever they are recited , Zabina effectively refutes Tamburlaine's linguistic strategy . The erstwhile empress repeats the events and words which have preoccupied the play's recent past in a way which ...
... words , which are always altered whenever they are recited , Zabina effectively refutes Tamburlaine's linguistic strategy . The erstwhile empress repeats the events and words which have preoccupied the play's recent past in a way which ...
Page 98
... words , the narrative succeeds Orcanes's victory with a scene in which even Tamburlaine is dramatically unable to make his words of consequence . The great orator of the first play is rendered linguistically impotent in the sequel by ...
... words , the narrative succeeds Orcanes's victory with a scene in which even Tamburlaine is dramatically unable to make his words of consequence . The great orator of the first play is rendered linguistically impotent in the sequel by ...
Contents
Words Are What Remain | 1 |
Reading and Writing | 20 |
Underwriting History | 51 |
Copyright | |
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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