Marlovian Tragedy: The Play of DilationBucknell University Press, 1999 - Počet stran: 221 This re-visioning of the Marlowe canon aims to explain the ambiguous effects that readers have long associated with Marlowe's signature. Marlovian tragedy has been inadequately theorized because Marlowe has too often been set under the giant shadow of Shakespeare. Grande, by contrast, takes Marlowe on his own terms and demonstrates how he achieves his notorious moral ambiguity through the rhetorical technique of dilation or amplification. All of Marlowe's plays end in the conventional tragic way, with death. But each play, as well as Hero and Leander, repeatedly evokes the reader's expectations of a tragic end only to defer them, dilating the moment of pleasure so that the protagonists can dally before the "law" of tragedy. |
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Strana 17
... throughout the play has proven himself not so much a scholar as a lover of pleasure ; but , at this eleventh hour , his wish to dilate or extend time for an entirely different reason — so that he " may repent and save his soul ...
... throughout the play has proven himself not so much a scholar as a lover of pleasure ; but , at this eleventh hour , his wish to dilate or extend time for an entirely different reason — so that he " may repent and save his soul ...
Strana 26
... throughout this study we will explore the extent to which Marlowe's " characteristic iconoclasm " -not just in The Jew of Malta , but ( to advance Dubrow ) throughout his entire oeuvre- " prepares us to notice his deviations from the ...
... throughout this study we will explore the extent to which Marlowe's " characteristic iconoclasm " -not just in The Jew of Malta , but ( to advance Dubrow ) throughout his entire oeuvre- " prepares us to notice his deviations from the ...
Strana 50
... throughout Part 1 of the play , a position he will scarcely alter in Part 2 : that he is mightier than Fortune . Anippe , in other words , believes Tamburlaine's claim that he is not subject to the laws of de casibus tragedy , namely ...
... throughout Part 1 of the play , a position he will scarcely alter in Part 2 : that he is mightier than Fortune . Anippe , in other words , believes Tamburlaine's claim that he is not subject to the laws of de casibus tragedy , namely ...
Obsah
Acknowledgments | 9 |
Dilation in Hero and Leander | 25 |
Tamburlaines Fortunate Fall | 44 |
Autorská práva | |
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Aeneas Aeneas's allusion Anippe argues authoritative authority Barabas Barabas's biblical burlaine Cambridge casibus tragedy Christ Christian Christopher Marlowe classical comic context conventional critics dalliance death Dido Dido and Aeneas Dido's différance dilation dilatory divine echo edited Edward Edward II Elizabethan English Studies epic erotic Essays on Christopher fall father Faustus Faustus's Ferneze filthy Play-maker Fortune Fortune's Frye Ganimed Gaveston genre Hero and Leander hero's heroic Ibid Icarus ironic Jew of Malta Jupiter Jupiter's Kenneth Friedenreich king language Latin law of tragedy literary London lovers lowe's Marlovian Marlovian tragedy Marlowe's Hero Marlowe's play Massacre at Paris Mephostophilis Mirror for Magistrates moral Mortimer Musaeus Musaeus's narrative narrator night Overreacher Ovid Ovid's parody Pelops Phaeton play's pleasure Poetry prologue protagonists reader reading Renaissance Drama Renaissance writers retribution rhetorical scapegoat scene Shakespeare shows speech structure Studies suggests Tamburlaine tion tradition tragic translation University Press vernacular Virgil word York Zenocrate's
Odkazy na tuto knihu
Constructing 'Monsters' in Shakespearean Drama and Early Modern Culture Mark Thornton Burnett Náhled není k dispozici. - 2002 |