Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's ArtistryRoutledge, 01 ապր, 2016 թ. - 260 էջ Moving beyond traditional studies of sources and influence, Shakespeare's Marlowe analyzes the uncommonly powerful aesthetic bond between Christopher Marlowe and William Shakespeare. Not only does this study take into account recent ideas about intertextuality, but it also shows how the process of tracking Marlowe's influence itself prompts questions and reflections that illuminate the dramatists' connections. Further, after questioning the commonly held view of Marlowe and Shakespeare as rivals, the individual chapters suggest new possible interrelationships in the formation of Shakespeare's works. Such examination of Shakespeare's Marlovian inheritance enhances our understanding of the dramaturgical strategies of each writer and illuminates the importance of such strategies as shaping forces on their works. Robert Logan here makes plain how Shakespeare incorporated into his own work the dramaturgical and literary devices that resulted in Marlowe's artistic and commercial success. Logan shows how Shakespeare's examination of the mechanics of his fellow dramatist's artistry led him to absorb and develop three especially powerful influences: Marlowe's remarkable verbal dexterity, his imaginative flexibility in reconfiguring standard notions of dramatic genres, and his astute use of ambivalence and ambiguity. This study therefore argues that Marlowe and Shakespeare regarded one another not chiefly as writers with great themes, but as practicing dramatists and poets-which is where, Logan contends, the influence begins and ends. |
From inside the book
Արդյունքներ 20–ի 1-ից 5-ը:
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... Shylock about whom there is no reliable contemporary information whatsoever,”59 he challenges the erroneous assumption that Shylock “must have conformed to a particular theatrical tradition, or that he must have been played in a certain ...
... Shylock about whom there is no reliable contemporary information whatsoever,”59 he challenges the erroneous assumption that Shylock “must have conformed to a particular theatrical tradition, or that he must have been played in a certain ...
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... Shylock, and the use made of him to criticize the hypocrisy of a Christian society.”81 The specific Marlovian influence, which is revealed in the style and tone of the speeches of the Prince of Morocco, takes us back to Tamburlaine.82 ...
... Shylock, and the use made of him to criticize the hypocrisy of a Christian society.”81 The specific Marlovian influence, which is revealed in the style and tone of the speeches of the Prince of Morocco, takes us back to Tamburlaine.82 ...
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... Shylock a comic character as single-dimensional as the Barabas of the last three acts. Three well-known instances in which this occurs come immediately to mind: The speech in which Shylock asks, “Hath not a Jew eyes? Hath not a Jew ...
... Shylock a comic character as single-dimensional as the Barabas of the last three acts. Three well-known instances in which this occurs come immediately to mind: The speech in which Shylock asks, “Hath not a Jew eyes? Hath not a Jew ...
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... Shylock not only because, as a precondition to ascertaining influence, we have understood the different intentions of The Jew of Malta and The Merchant of Venice, but because we also understand the natural limitations (i.e. ...
... Shylock not only because, as a precondition to ascertaining influence, we have understood the different intentions of The Jew of Malta and The Merchant of Venice, but because we also understand the natural limitations (i.e. ...
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Դուք հասել եք այս գրքի դիտումների առավելագույն քանակին.
Բովանդակություն
1 | |
Influence and Characterization in The Massacre At Paris Titus Andronicus and Richard III | 31 |
Artistic Individuality and the Ideology of Containment | 55 |
4 Edward II Richard II the Will to Play and an Aesthetic of Ambiguity | 83 |
The Influence of The Jew of Malta on The Merchant of Venice | 117 |
6 Marlowes Tamburlaine Plays Shakespeares Henry V and the Primacy of an Artistic Consciousness | 143 |
Dido Queen of Carthage as a Precursor to Antony and Cleopatra | 169 |
Imprints of Doctor Faustus on Macbeth and The Tempest | 197 |
Marlovian Incentives | 231 |
Bibliography | 237 |
Index | 247 |
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actions Adonis Aeneas aesthetic ambiguity Antony Antony and Cleopatra appears artistic asserts audience awareness Barabas become beginning behavior chapter characterization characters clear comic consequences containment context continuing conventional create critics death desire Dido differences discussion Doctor Faustus dramatic early Edward effect elements Elizabethan emotional especially evidence example expression feel figure forces give Henry Hero and Leander human ideal imagination indicate individuality influence interest king language less lines Macbeth magic manliness Marlovian Marlowe Marlowe and Shakespeare Marlowe’s means Merchant moral Moreover nature notion passage perspective play playwright poem political portray possible present Press protagonists psychological question response reveals Richard Richard II role says scene seems seen sense sexual Shakespeare Shylock similar soliloquy specific speech strong style success suggest Tamburlaine tradition understanding University University Press Venus writers York