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 72–ի 1-ից 5-ը:
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... means, now known or hereafter invented, including photocopying and recording, or in any information storage or retri eval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or ...
... means, now known or hereafter invented, including photocopying and recording, or in any information storage or retri eval system, without permission in writing from the publishers. Notice: Product or corporate names may be trademarks or ...
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... mean those strategies that Shakespeare devised to give the production of his plays maximum effectiveness, whether measured pragmatically, by the plays' degree of commercial success, or aesthetically, by such ingredients as conflict and ...
... mean those strategies that Shakespeare devised to give the production of his plays maximum effectiveness, whether measured pragmatically, by the plays' degree of commercial success, or aesthetically, by such ingredients as conflict and ...
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... mean now. This section leads to an analysis of the significance of a study of Marlowe's influence (primarily) and the various forms of influence, from the most to the least definite, that the ensuing chapters encompass. I conclude the ...
... mean now. This section leads to an analysis of the significance of a study of Marlowe's influence (primarily) and the various forms of influence, from the most to the least definite, that the ensuing chapters encompass. I conclude the ...
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... mean competition that is friendly, unfriendly, or vigorously antagonistic, and the context can be either personal or professional. But Shakespeare uses the word “rival” throughout his works without a connotation of hostility to mean ...
... mean competition that is friendly, unfriendly, or vigorously antagonistic, and the context can be either personal or professional. But Shakespeare uses the word “rival” throughout his works without a connotation of hostility to mean ...
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... means of what he calls 'strong misreading.' All poems are thus 'antithetical' to their precursor poems. Indeed, 'A poem is not an overcoming of anxiety but is that anxiety.'”25 From these ideas, Bate concludes (as Bloom does not) “that ...
... means of what he calls 'strong misreading.' All poems are thus 'antithetical' to their precursor poems. Indeed, 'A poem is not an overcoming of anxiety but is that anxiety.'”25 From these ideas, Bate concludes (as Bloom does not) “that ...
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