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. |
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Արդյունքներ 44–ի 1-ից 5-ը:
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... asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any ...
... asserted his moral right under the Copyright, Designs and Patents Act, 1988, to be identified as the author of this work. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any ...
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... assertion that “Shakespeare was the rival who killed Marlowe.”18 The up-and-coming playwright is here cast as a ruthless Tamburlaine figure out to trample Marlowe's professional reputation. But the claim derives from fiction, not fact ...
... assertion that “Shakespeare was the rival who killed Marlowe.”18 The up-and-coming playwright is here cast as a ruthless Tamburlaine figure out to trample Marlowe's professional reputation. But the claim derives from fiction, not fact ...
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... assertion that “Shakespeare was the rival who killed Marlowe,” Bate specifically invokes Harold Bloom's generalized view22 that literary recreation originates in a writer's anxiety about what Bate declares is “the burden of tradition”23 ...
... assertion that “Shakespeare was the rival who killed Marlowe,” Bate specifically invokes Harold Bloom's generalized view22 that literary recreation originates in a writer's anxiety about what Bate declares is “the burden of tradition”23 ...
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... asserted several years ago that “[s]ource study is, as we all know, the elephants' graveyard of literary history.”44 But, as Richard Levin has stated more recently, “... a source is not a text or event; it is always a relationship ...
... asserted several years ago that “[s]ource study is, as we all know, the elephants' graveyard of literary history.”44 But, as Richard Levin has stated more recently, “... a source is not a text or event; it is always a relationship ...
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... asserts that the study of influences can be used “to crystallise the true spirit of the work.”70 Without discriminating between a source and an influence but, in effect, talking about both, A.P. Rossiter declares that “source-study ...
... asserts that the study of influences can be used “to crystallise the true spirit of the work.”70 Without discriminating between a source and an influence but, in effect, talking about both, A.P. Rossiter declares that “source-study ...
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