Relevant bibliographies by topics / Dr. Faustus

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Dr. Faustus'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "Dr. Faustus"

1

Jobe, Don. "Marlowe’s Dr. Faustus." Explicator 44, no. 3 (April 1986): 12–14. http://dx.doi.org/10.1080/00144940.1986.11483924.

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Trzyna, Thomas. "Dear Dr. Faustus." Christianity & Literature 40, no. 1 (December 1990): 6. http://dx.doi.org/10.1177/014833319004000102.

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Trzyna, Thomas. "Dear Dr. Faustus." Christianity & Literature 50, no. 3 (June 2001): 562. http://dx.doi.org/10.1177/0148333101050003117.

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BROUGH, NEIL. "DR FAUSTUS AND ‘P.F.’." Notes and Queries 32, no. 1 (March 1, 1985): 15–16. http://dx.doi.org/10.1093/nq/32-1-15.

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Smith, Peter J. "Review: Play: Dr Faustus." Cahiers Élisabéthains: A Journal of English Renaissance Studies 52, no. 1 (October 1997): 117–18. http://dx.doi.org/10.1177/018476789705200121.

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Lubich, Frederick Alfred, and Rudolf Wolff. "Thomas Manns Dr. Faustus und die Wirkung." German Quarterly 58, no. 3 (1985): 471. http://dx.doi.org/10.2307/406593.

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GALLOWAY, ANDREW. "DR FAUSTUS AND THE CHARTER OF CHRIST." Notes and Queries 35, no. 1 (March 1, 1988): 36—b—38. http://dx.doi.org/10.1093/nq/35-1-36b.

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Dhar, Nikhilesh. "A Sound Magician is a Mighty God''- Marlowe's Dr Faustus in Perspective." Paripex - Indian Journal Of Research 2, no. 2 (January 15, 2012): 167–68. http://dx.doi.org/10.15373/22501991/feb2013/58.

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Kim, Hyun-Joo. "Educational Effects of Renaissance Drama: Marlowe’s Dr. Faustus." Korean Society for Teaching English Literature 21, no. 2 (September 30, 2017): 111–38. http://dx.doi.org/10.19068/jtel.2017.21.2.05.

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Riemer, A. P. "Dr. Faustus: the A-Text (review)." Parergon 7, no. 1 (1989): 144–46. http://dx.doi.org/10.1353/pgn.1989.0005.

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Dissertations / Theses on the topic "Dr. Faustus"

1

Hakim, Rima. "Marlowe on the English stage: 1588-1988 : a stage history of three Marlowe plays Dr. Faustus, Edward II, and the Jew of Malta." Thesis, University of Leeds, 1990. http://etheses.whiterose.ac.uk/255/.

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This study attempts to follow the stage history of three of Marlowe's plays, Dr. Faustus, Edward II, and The Jew of Malta, from Marlowe's own time to our own time. It also attempts to discuss changes in critical attitudes to these plays in particular, and to Marlowe in general, and to relate these to the plays' theatrical fortunes. Each of the first and last three chapters is devoted to one play. The first three deal with the early stage history of the three plays under discussion. Chapter One discusses that of Dr. Faustus, Chapter Two discusses that of The Jew of Malta, and Chapter Three, that of Edward H. On the basis of what is known with reasonable certainty, and of what can be deduced from a general knowledge of the Elizabethan theatre, the first three chapters explore dates, places and circumstances of the performances of these plays. They also attempt to reconstruct the stage action of major scenes in the plays and to investigate what theatrical techniques were available or were made exclusively available for staging these scenes. In the light of the social, political, and cultural climate of the sixteenth and seventeenth century, there is also an attempt to study what the thematic issues in each play represented for Elizabethan audiences, and this is juxtaposed in the three last chapters with what they now represent for modern audiences. This juxtaposition hopefully illuminates our understanding of the plays in their own time and shows how some aspects of these plays which do not appeal to modern audiences and directors were, in fact, of great significance to their first audiences. Chapters Six, Seven and Eight deal with the twentieth-century stage history of the plays in the same order as that of the three early chapters. The large number of performances in the twentieth century made the approach to these chapters inevitably selective. Therefore, in each chapter a certain number of performances have been chosen for detailed analysis, some of which have been seen; other performances have been discussed more briefly and only with a view to their effect in the stage history of the plays. For the productions discussed in detail, promptbooks and reviews have been examined, and, where possible, directors have been interviewed. Together, the early and the modern period seem to exhibit two peaks of Marlowe's popularity on the stage. These are bridged by Chapters Four and Five, where the lack of Marlowe performances formed a kind of valley between two mountains. Thus these two middle chapters, as it were, provide the stepping stones between the first and the last three chapters. Chapter Four deals with the period between 1642 and 1800, reviewing the prevailing critical attitudes to Marlowe, and their relation to his absence from the stage. Chapter Five opens with a study of Edmund Kean's revival of The Jew of Malta in 1818 and of how the play was adapted to the social and theatrical climate of the time. The Chapter also reviews the critical attitudes to Marlowe's plays in the nineteenth century, as seen in editions of, and essays on, the plays; and it ends with a study of William Poel's revivals of two of the plays under discussion, Dr. Faustus and Edward II, in 1896 and in 1903, respectively. All the eight chapters attempt to discuss the stage history of the plays in the light of the theatrical conditions of the times, and the ways in which these influenced the staging and interpretation of the text. There is no claim that it is possible to reconstruct the effect of a certain performance or how words were spoken, but, where promptbooks are available, there is a fair degree of certainty concerning what was spoken in the production. Thus, a study of cuts and additions made by actor-managers and directors proved necessary. In cases where further extracts from the promptbooks may be helpful to the reader, such extracts have been provided in appendices. There are also lists of dates and places of modern professional and amateur productions of these plays, which are useful though by no means exhaustive. Illustrations have also been provided, to illuminate points made in the discussion of particular productions. The conclusion sums up the reasons why Marlowe's plays were popular only at certain times and in certain climates, discusses how certain difficulties experienced in staging them are still seen as major obstacles in productions. It finally focuses on Marlowe's position in the theatre of today.
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2

Stojčevski, Dragan. "Specifické případy prostorotvorné funkce dramatické osoby Ch. Marlowa: Dr. Faust." Master's thesis, Akademie múzických umění v Praze. Divadelní fakulta AMU. Knihovna, 2006. http://www.nusl.cz/ntk/nusl-78668.

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In this thesis, I am trying to answer the question of what space-creatingfunction does a dramatic person carry. I an searching for ways in whichset-design creates space, especially specific environments, by the meansof a living actor. I limited the presented examples to my personal experience with dramatictheatre. The possibilities (not only of the box theatre) are explained onthe examples of A.P. Chekhovś The Cherry Orchard, Shakespeareś Midsummer Nightś Dream and are further analyzed on the example of thefunction of the chorus in Christopher Marloweś The Tragic History of Dr. Faustus. The core of the thesis consists of the scenographic study of this play. The presentation also includes the Faust performance that was shown onthe Third International Biennale Vestiges of Industry 2005 in Kladno and is described in the end.
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Webb, Dan. "From constellations to autoprohibition: everything you wanted to know about Adorno's ethics (but were afraid to ask Zizek)." Phd thesis, 2010. http://hdl.handle.net/10048/1022.

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This project is centered on two primary concerns. First, to reformulate Adornos notion of ethical subjectivity in a way that allows for a clearer articulation of his normative position, and second, to make it more relevant to our contemporary social context and advances in social theory. My claim is that we can achieve this by rejecting Adornos philosophical method (negative dialectics and constellations) by reading his ethics through the lens of ieks method which I am calling autoprohibition. As I will show, autoprohibition is ieks strategy for breaking the deadlock of the dialectic of enlightenment and its accompanying defeatist politics by developing a dialectical theory that neither rests on pure negation nor falls into the totalising and reifying trap of orthodox Marxism. It is in the context of autoprohibition that one can rearticulate Adornos normative imperatives (specifically, the imperative to end suffering, and to recognise the truth-content of the body) without these imperatives being negated by the totalising dictates of the dialectic of enlightenment. The best way to redeem the important normative components of Adornos formulation of ethical subjectivity is to reject its underlying philosophical method and resituate it in another. I frame this methodological shift as one from constellations to autoprohibition, which allows for a more positive articulation of Adornos ethics; a plan for actively practising an ethical life vs. one premised on the rejection of participating in an unethical system (which Adornos ethics amounts to on my account).
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Books on the topic "Dr. Faustus"

1

Marlowe, Christopher. Dr. Faustus. San Diego, CA: ICON Classics, 2005.

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2

Marlowe, Christopher. Dr Faustus. 2nd ed. London: A & C Black, 1989.

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3

Marlowe, Christopher. Dr Faustus. London: Methuen by arrangement with the Royal Shakespeare Company, 1989.

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4

Marlowe, Christopher. Dr Faustus. (London): Abacus, 1986.

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Marlowe, Christopher. Dr. Faustus. San Diego, CA: ICON Classics, 2005.

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6

Marlowe, Christopher. Dr. Faustus. Oxford [England]: Clarendon Press, 1990.

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Marlowe, Christopher. Dr. Faustus. New York: Dover, 1994.

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Marlowe, Christopher. Dr. Faustus. San Diego, CA: ICON Classics, 2005.

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Marlowe, Christopher. Dr. Faustus. San Diego, CA: ICON Classics, 2005.

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Marlowe, Christopher. Dr Faustus. 2nd ed. London: A & C Black, 1990.

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Book chapters on the topic "Dr. Faustus"

1

Manlove, Colin. "Marlowe: Dr Faustus." In Christian Fantasy, 73–92. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-12570-8_6.

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Olivari, Anna Maria. "Dr. Fausti Weheklag." In Doktor Faustus (ver-)stimmen, 125–88. Berlin, Heidelberg: Springer Berlin Heidelberg, 2021. http://dx.doi.org/10.1007/978-3-662-62635-1_5.

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Sugg, Richard. "Aspiring Souls (II): Dr Faustus." In The Smoke of the Soul, 103–32. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137345608_5.

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Dollimore, Jonathan. "Dr Faustus: Subversion Through Transgression." In Marlowe, 151–62. London: Macmillan Education UK, 2003. http://dx.doi.org/10.1007/978-1-137-07982-4_8.

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Dollimore, Jonathan. "Dr Faustus (c. 1589–92): Subversion Through Transgression." In Radical Tragedy, 109–19. London: Macmillan Education UK, 2010. http://dx.doi.org/10.1007/978-1-137-08640-2_6.

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Tompkins, Joanne. "Making the Invisible Visible: Virtual Stage Props and Christopher Marlowe’s Dr Faustus." In Performing Objects and Theatrical Things, 161–72. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137402455_12.

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Mahl, Bernd. "Faust’s Traum." In Dr. Faust’s, des berühmten Schwarzkünstlers und Teufelbanners, 74–78. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02921-8_29.

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Mahl, Bernd. "Faust’s Tod." In Dr. Faust’s, des berühmten Schwarzkünstlers und Teufelbanners, 88–89. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02921-8_35.

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Mahl, Bernd. "Faust’s Geburt und Erziehung." In Dr. Faust’s, des berühmten Schwarzkünstlers und Teufelbanners, 3–4. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02921-8_1.

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Mahl, Bernd. "Faust’s Ankunft bei seiner Familie." In Dr. Faust’s, des berühmten Schwarzkünstlers und Teufelbanners, 37–39. Stuttgart: J.B. Metzler, 2002. http://dx.doi.org/10.1007/978-3-476-02921-8_14.

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