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Lunney explores Marlowe's engagement with the traditions of the popular stage in the 1580s and early 1590s and offers a new approach to his major plays in terms of staging and audience response, as well as providing a new account of English drama in these important but largely neglected years.
The Bottom Translation represents the first critical attempt at applying the ideas and methods of the great Russian critic, Mikhail Bakhtin, to the works of Shakespeare and other Elizabethans. Professor Kott uncovers the cultural and mythopoetic traditions underlying A Midsummer Night's Dream, The Tempest, Dr. Faustus, and other plays. His method draws him to interpret these works in the light of the carnival and popular tradition as it was set forth by Bakhtin. The Bottom Translation breaks new ground in critical thinking and theatrical vision and is an invaluable source of new ideas and perspectives. Included in this volume is also an extraordinary essay on Kurosawa's "Ran" in which the Japanese filmmaker recreates King Lear.
Reforming Marlowe seeks to analyze Marlow's reception in the nineteenth century in order to trace critical interpretations from their specific social, economic, and political origins.
This introductory guide to one of Marlowe's most widely-studied plays offers a scene-by-scene theatrically aware commentary, a brief history of the text and first performances, case studies of key performances and productions, a survey of screen adaptations, and a wide sampling of critical opinion and further reading.
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.
Focusing upon Marlowe the playwright as opposed to Marlowe the man, the essays in this collection position the dramatist's plays within the dramaturgical, ethical, and sociopolitical matrices of his own era. The volume also examines some of the most heated controversies of the early modern period, such as the anti-theatrical debate, the relations between parents and children, Machiavaelli1s ideology, the legitimacy of sectarian violence, and the discourse of addiction. Some of the chapters also explore Marlowe's polysemous influence on the theater of his time and of later periods, but, most centrally, upon his more famous contemporary poet/playwright, William Shakespeare.
There has never been a retrospective on Christopher Marlowe as comprehensive, complete and up-to-date in appraising the Marlovian landscape. Each chapter has been written by an eminent, international Marlovian scholar to determine what has been covered, what has not, and what scholarship and criticism will or might focus on next. The volume considers all of Marlowe’s dramas and his poetry, including his translations, as well as the following special topics: Critical Approaches to Marlowe; Marlowe’s Works in Performance; Marlowe and Theatre History; Electronic Resources for Marlovian Research; and Marlowe’s Biography. Included in the discussions are the native, continental, and classical influences on Marlowe and the ways in which Marlowe has interacted with other contemporary writers, including his influence on those who came after him. The volume has appeal not only to students and scholars of Marlowe but to anyone interested in Renaissance drama and poetry. Moreover, the significance for readers lies in the contributors’ approaches as well as in their content. Interest in the biography of Christopher Marlowe and in his works has bourgeoned since the turn of the century. It therefore seems especially appropriate at this time to present a comprehensive assessment of past and present traditional and innovative lines of inquiry and to look forward to future developments.
In uncovering the origin of the designation 'University Wits', Bob Logan examines the characteristics of the Wits and their influence on the course of Elizabethan drama. For the first time, Christopher Marlowe is placed in the context of the six University Wits, where his reputation stands out as the most prominent, and the impact of his university education on his works is clarified. The essays selected for reprinting assess the most significant scholarship written about Marlowe, including biographical studies, challenges to familiar assumptions about the poet/playwright and his works, compositions on groupings of his works, on individual works, and on subjects particular to Marlowe. Unique in its perspective and in the collection of essays, this book will interest all students and scholars of Renaissance poetry, drama, and specialized cultural contexts.
This New Mermaids anthology brings together the four most popular and widely studied of Christopher Marlowe's plays: Tamburlaine, Parts 1 and 2, The Jew of Malta, Edward II and Dr Faustus. The new introduction by Brian Gibbons explores the plays in the context of early modern theatre, culture and politics, as well as examining their language, characters and themes. On-page commentary notes guide students to a better understanding and combine to make this an indispensable student edition ideal for study and classroom use from A Level upwards.
The first book of its kind, Marlowe's Ovid explores and analyzes in depth the relationship between the Elegies-Marlowe's translation of Ovid's Amores-and Marlowe's own dramatic and poetic works. Stapleton carefully considers Marlowe's Elegies in the context of his seven known dramatic works and his epyllion, Hero and Leander, and offers a different way to read Marlowe. Stapleton employs Marlowe's rendition of the Amores as a way to read his seven dramatic productions and his narrative poetry while engaging with previous scholarship devoted to the accuracy of the translation and to bibliographical issues. The author focuses on four main principles: the intertextual relationship of the Elegies to the rest of the author's canon; its reflection of the influence of Erasmian humanist pedagogy, imitatio and aemulatio; its status as the standard English Amores until the Glorious Revolution, part of the larger phenomenon of pan-European Renaissance Ovidianism; its participation in the genre of the sonnet sequence. He explores how translating the Amores into the Elegies profited Marlowe as a writer, a kind of literary archaeology that explains why he may have commenced such an undertaking. Marlowe's Ovid adds to the body of scholarly work in a number of subfields, including classical influences in English literature, translation, sexuality in literature, early modern poetry and drama, and Marlowe and his milieu.