Marlovian Tragedy: The Play of Dilation
Bucknell University Press, 1999 - 221 páginas
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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Dilation in Hero and Leander
Tamburlaines Fortunate Fall
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Aeneas allusion argues attempts authority Barabas becomes begins calls Cambridge casibus tragedy character Christ Christian Christopher classical comic command context conventional course critics death desire Dido difference dilation divine drama echo Edward Elizabethan English English Studies epic example expectations fact fall father Faustus Faustus's figure final follow force Fortune genre gives hand Hero and Leander heroic human Icarus important ironic Jew of Malta Jupiter kind king language Latin lines literary London lovers Marlovian Marlowe Marlowe's Marlowe's plays means metafictional Mirror moral Mortimer narrative narrator nature night original Overreacher parody Phaeton play pleasure poem points presents provides reader reading recalls reference relation Renaissance represents rhetorical scapegoat scene seems sense Shakespeare shows sources speech story structure suggests symbol Tamburlaine throughout tion tradition tragic translation ultimately University Press vernacular Virgil writers York
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Sin vista previa disponible - 2002