Marlowe's "Dr. Faustus" and "Tamburlaine": Theological and Theatrical PerspectivesP. Lang, 1984 - 402 oldal Within the context of Elizabethan critical theories on tragic drama and, more generally, on form and content, style, rhetoric and moral meaning in theatrical performance, Marlowe's major plays raise important questions about the possibility of innovation in poetics and dramaturgy on a stage which was hardly prepared to sustain the subversive self-display of the new Marlovian hero. After discussing two recent approaches (v. Balthasar; Derrida) to the definition of -orthodoxy- and -theology- in drama, Birringer examines the forms of ethical challenge inscribed within the Tamburlaine plays and Dr Faustus. Detailed analyses of the performance dynamics and dramatic styles in Marlowe's plays also help to clarify their particular status in relation to contemporary theatre practice and, especially, Shakespearean drama." |
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1 - 3 találat összesen 85 találatból.
94. oldal
... course quite ironic that he should mention the gap between his low parentage and his claims to lordship . But he has already discarded the relevance of conventional generic attributes with regard to the " deeds " that will prove his ...
... course quite ironic that he should mention the gap between his low parentage and his claims to lordship . But he has already discarded the relevance of conventional generic attributes with regard to the " deeds " that will prove his ...
241. oldal
... course the many syllogisms therein , take away all the ampli- fications , and , after making brief headings to note the argu- ments used , form into one syllogism the sum total of the dis- course , this sum total being ordinarily self ...
... course the many syllogisms therein , take away all the ampli- fications , and , after making brief headings to note the argu- ments used , form into one syllogism the sum total of the dis- course , this sum total being ordinarily self ...
290. oldal
... course repeats his former categori- cal imperatives , yet these imperatives now show an emotional logic which is very different from his initial arrogance and " re- solution " and begins to undermine his belief in himself . Now go not ...
... course repeats his former categori- cal imperatives , yet these imperatives now show an emotional logic which is very different from his initial arrogance and " re- solution " and begins to undermine his belief in himself . Now go not ...
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action actor aesthetic ambiguities Angels aspiration audience B-text become blasphemous Calvinist Cambridge Univ Christ Christian Christopher Marlowe comic conception context Cosroe's course create damnation damnd deed despair devil diabolical pact dialectic divine Doctor Faustus doctrine Dr Faustus dramatic dramaturgy effects Elizabethan emphasis ethical expression fantasies Faustian God's haue heauen heauenly Helen hell hero hero's heroic human idea imagination implications interpretation Jew of Malta language lines logic London lowe's Lucifer Macbeth magic man's Marlovian Marlowe's Marlowe's drama Marlowe's play meaning Mephostophilis metaphor mind mode moral morality play Mycetes Oxford paradox performance perspective play's poetic poetry Press question Ramist Ramus Renaissance repent reprobate rhetorical scene seems sense Seven Deadly Sins Shakespeare Sins soliloquy soule spectacle speech stage structure style symbolic Tambur Tamburlaine Tamburlaine plays theatre theatrical thee theological thou tradition tragedy tragic trans transcendence verbal verse vision visual words Zenocrate