Christopher MarloweRichard Wilson Longman, 1999 - 273 pagina's Christopher Marlowe has provoked some of the most radical criticism of recent years. There is an elective affinity, it seems, between this pre-modern dramatist and the post-modern critics whose best work has been inspired by his plays. The reason suggested by this collection of essays is that Marlowe shares the post-modern preoccupation with the language of power - and the power of language itself. As Richard Wilson shows in his introduction, it is no accident that the founding essays of New Historicism were on Marlowe; nor that current Queer Theorists focus so much on his images of gender and homosexuality. Marlowe staged both the birth of the modern author and the origin of modern sexual desire, and it is this unique conjunction that makes his drama a key to contemporary debates about the state and the self: from pornography to gays in the military. |
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Pagina 2
... criticism . The scandal posed by Marlowe for his critics is not Renaissance hyperbole , baroque bloodletting , or modern homosexuality ; the embarrassment is that in his work the power of speech , violence and virility is juxtaposed to ...
... criticism . The scandal posed by Marlowe for his critics is not Renaissance hyperbole , baroque bloodletting , or modern homosexuality ; the embarrassment is that in his work the power of speech , violence and virility is juxtaposed to ...
Pagina 3
... critics who are committed to toppling the institution of literature are in the disconcerting position , therefore , of encountering in this canonical writer a cult of the iconoclast as their own nemesis . They are in the situation ...
... critics who are committed to toppling the institution of literature are in the disconcerting position , therefore , of encountering in this canonical writer a cult of the iconoclast as their own nemesis . They are in the situation ...
Pagina 24
... critics to confront . For long , however , there was no contradiction , since , as Edmund Rudyard sneered in 1614 , such a ' poet and filthy play - maker ' proved how sodomy was soldered to the stage : ' Hearken , ye brain - sick poets ...
... critics to confront . For long , however , there was no contradiction , since , as Edmund Rudyard sneered in 1614 , such a ' poet and filthy play - maker ' proved how sodomy was soldered to the stage : ' Hearken , ye brain - sick poets ...
Inhoudsopgave
Introduction | 1 |
MARJORIE GARBER | 30 |
JONATHAN GOLDBERG | 83 |
Copyright | |
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Aeneas alien antitheatrical audience Baines Barabas Barabas's boys Bruno Cambridge Catholic Christ Christian Christopher Marlowe claim contemporary critics culture death desire Dido difference discourse divine Doctor Faustus domination Dr Faustus drama dramatist Edward Edward II Elizabethan Elizabethan Theatre England English essay Faustus's Ferneze figure Foucault Ganymede Gaveston gender Goldberg Guise Guise's hell Henry Henry's hero heterosexuality homosexuality Horsey identity ideology Ithamore Jew of Malta Jonathan Jupiter king language Literary London male Marlovian Marlowe's Marlowe's play Marx Marx's masculine Massacre at Paris Mephostophilis MICHEL FOUCAULT misogyny modern monstrous moral Mortimer murder Muscovy Muscovy Company Oxford pamphlet plague playwright political Protestant Queen Rankins Rankins's reading relations relationship religion religious Renaissance rhetoric scene sexual Shakespeare Shepherd SIMON SHEPHERD social society sodomy soul stage Stephen Greenblatt stereotype suggests Tamburlaine theatre theatrical thou transgression Turks University Press violence Walsingham woman women words writing Zenocrate
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