Marlovian Tragedy: The Play of DilationBucknell 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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Página 125
... figure of Fortune and her wheel as a means of bringing order out of the chaos of historical materials : that is , as a means of narrativizing history into the shape of tragedy . Mar- lowe's fellow " University Wits " ( the " generation ...
... figure of Fortune and her wheel as a means of bringing order out of the chaos of historical materials : that is , as a means of narrativizing history into the shape of tragedy . Mar- lowe's fellow " University Wits " ( the " generation ...
Página 144
... figure who is sacrificed , literally or symbolically , to restore social unity possesses a mythical affinity with the Hebrew ritual and with the related story of Christ's Passion . In the Christian tradition , a guilty scapegoat ( like ...
... figure who is sacrificed , literally or symbolically , to restore social unity possesses a mythical affinity with the Hebrew ritual and with the related story of Christ's Passion . In the Christian tradition , a guilty scapegoat ( like ...
Página 158
... figure , Guise , is one of Mar- lowe's typical " titans of evil ” ; but the conquering Virtue - figure is weak and colorless ( he exhibits , in Kocher's suggestively male lan- guage , " extreme flaccidity and impotence " ) . 40 Navarre ...
... figure , Guise , is one of Mar- lowe's typical " titans of evil ” ; but the conquering Virtue - figure is weak and colorless ( he exhibits , in Kocher's suggestively male lan- guage , " extreme flaccidity and impotence " ) . 40 Navarre ...
Contenido
Acknowledgments | 9 |
Dilation in Hero and Leander | 25 |
Tamburlaines Fortunate Fall | 44 |
Derechos de autor | |
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Términos y frases comunes
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