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1
Wilbert, D. Maure. Silent Shakespeare and Marlowe revivified. Sheboygan, Wis: Daurus Press, 1998.
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2
The Marlowe-Shakespeare connection: A new study of the authorship question. Jefferson, N.C: McFarland & Co., Publishers, 2008.
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3
"And thereby hangs a tale": The memoires of an arse poetica. Denver, Colo: Outskirts Press, 2009.
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5
Bolt, Rodney. History play: The lives and afterlife of Christopher Marlowe. London: HarperCollins, 2004.
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6
Bolt, Rodney. History play: The lies and afterlife of Christopher Marlowe. London: HarperCollins, 2004.
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7
Bolt, Rodney. History play: The lives and afterlife of Christopher Marlowe. New York: Bloomsbury, 2005.
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8
History play: The lives and afterlife of Christopher Marlowe. New York: Bloomsbury, 2005.
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9
The Shakespeare invention: The life and deaths of Christopher Marlowe. Bakewell, Derbyshire [England]: Country Books, 1999.
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11
Viviani, Valerio. Il gioco degli opposti: Modelli neoplatonici nella drammaturgia di Christopher Marlowe. Ospedaletto, Pisa: Pacini, 1998.
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12
Cheney, Patrick Gerard. Marlowe's counterfeit profession: Ovid, Spenser, counter-nationhood. Toronto: University of Toronto Press, 1997.
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13
Gruber, Elizabeth D. The Eco-Self in Early Modern English Literature. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2023. http://dx.doi.org/10.5117/9789463728881.
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The Eco-Self in Early Modern English Literature tracks an important shift in early modern conceptions of selfhood, arguing that the period hosted the birth of a new subset of the human, the eco-self, which melds a deeply introspective turn with an abiding sense of humans’ embedment in the world. A confluence of cultural factors produced the relevant changes. Of paramount significance was the rapid spread of literacy in England and across Europe: reading transformed the relationship between self and world, retooled moral reasoning, and even altered human anatomy. This book pursues the salutary possibilities, including the ecological benefits, of this redesigned self by advancing fresh readings of texts by William Shakespeare, Christopher Marlowe, John Webster, and Margaret Cavendish. The eco-self offers certain refinements to ecological theory by renewing appreciation for the rational, deliberative functions that distinguish humans from other species.
14
The Renaissance drama of knowledge: Giordano Bruno in England. London: Routledge, 1989.
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16
Wilbert, D. Maure. Silent Shakespeare & Marlowe Revivified: An Evaluation of the Authorship Issues Involving William Shakespeare & Christopher Marlowe. 2nd ed. Daurus Pr, 1998.
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19
On the Authorship Controversy: Evidence That Christopher Marlowe Wrote the Poems and Plays of William Shakespeare. Academica Press, 2017.
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21
Bolt, Rodney. History Play~Rodney Bolt. HarperCollins Canada / UK Non-Fict Pb, 2005.
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22
Cheney, Patrick. English Authorship and the Early Modern Sublime: Spenser, Marlowe, Shakespeare, Jonson. Cambridge University Press, 2018.
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23
Cheney, Patrick. English Authorship and the Early Modern Sublime: Fictions of Transport in Spenser, Marlowe, Jonson, and Shakespeare. Cambridge University Press, 2022.
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24
English Authorship and the Early Modern Sublime: Fictions of Transport in Spenser, Marlowe, Jonson and Shakespeare. University of Cambridge ESOL Examinations, 2018.
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25
Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.
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26
Constable, Catherine. Thinking In Images: Film Theory, Feminist Philosophy and Marlene Dietrich. British Film Institute, 2006.
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27
Vinter, Maggie. Last Acts. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823284269.001.0001.
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Last Acts: The Art of Dying on the Early Modern Stage argues that the Elizabethan and Jacobean theater offered playwrights, actors, and audiences important opportunities to practice arts of dying. Early modern plays also engage with devotional traditions that understand death less as an occasion for suffering or grieving than as an action to be performed, well or badly. Active deaths belie the narratives of helplessness and loss most often used to analyze representations of mortality and instead suggest ways that marginalized and constrained subjects might participate in the political, social, and economic management of life. Some of these strategies for dying resonate with ecclesiastical forms or with descriptions of biopolitics within the recent work of Giorgio Agamben and Roberto Esposito. Yet the art of dying is not solely a discipline imposed upon recalcitrant subjects. Since it offers suffering individuals a way to enact their deaths on their own terms, it discloses both political and dramatic action in their most minimal manifestations. Rather than mournfully marking what we cannot recover, the practice of dying reveals what we can do, even in death. By analyzing representations of dying in plays by writers including Christopher Marlowe, William Shakespeare, and Ben Jonson alongside both devotional texts and contemporary biopolitical theory, Last Acts shows how theater reflects, enables, and contests the politicization of life and death.
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Starks, Lisa S. Ovid and Adaptation in Early Modern English Theatre. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474430067.001.0001.
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Ovid was a multifaceted icon of lovesickness, endless change, libertinism, emotional torment and violence in early modern England. This collection uses adaptation studies in connection with other contemporary theoretical approaches to analyze early modern transformations of Ovid, providing innovative perspectives on the “Ovids” that haunted the early modern stage, while exploring intersections between adaptation theory and gender/queer/trans studies, ecofeminism, hauntology, transmediality, rhizomatics and more. The chapters explore Ovidian adaptations in the works of Shakespeare, Marlowe, Jonson, Mary Sidney Herbert, Lyly, Hewood, among others. The volume is divided into four sections: I. Gender/Queer/Trans Studies and Ovidian Rhizomes; II. Ovidian Specters and Remnants; III. Affect, Rhetoric, and Ovidian Appropriation; and IV. Ovid Remixed: Transmedial, Rhizomatic, and Hyperreal Adaptations.” Focusing on these larger topics, this book examines the multidimensional, ubiquitous role that Ovid and Ovidian adaptations played in English Renaissance drama and theatrical performance. The book contains chapters by Simone Chess, Shannon Kelley, Daniel G. Lauby, Deborah Uman, Lisa S. Starks, John S. Garrison, Catherine Winiarski, Jennifer Feather, John D. Staines, Goran Stanivukovic, Louise Geddes, Liz Oakley-Brown, Ed Gieskes, and Jim Casey.
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Bozio, Andrew. Thinking Through Place on the Early Modern English Stage. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846567.001.0001.
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Thinking Through Place on the Early Modern English Stage traces the way that characters think through their surroundings in early modern drama—not only how these characters orient themselves within unfamiliar or otherwise strange locations but also how their locations function as the scaffolding for perception, memory, and other forms of embodied thought. Such moments of thinking through place stage a process that both resembles and parallels the cognitive work that early modern playgoers undertook as they reimagined the stage as the settings of the dramatic fiction. The book traces the vexed relationship between these two registers of thought in works by Marlowe, Shakespeare, Beaumont, and Jonson. In doing so, it counters a critical tradition that figures drama as a form of spatial abstraction and demonstrates, instead, that theatrical performance constituted a sophisticated and self-reflexive mode of thinking through place in the early modern period.
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Hausteiner, Eva Marlene, and Sebastian Huhnholz, eds. Imperien verstehen. Nomos Verlagsgesellschaft mbH & Co. KG, 2019. http://dx.doi.org/10.5771/9783845291185.
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How can we understand empires? Why have they exerted such influence throughout history? What are their determining structures and actors? Do we still live in a world of empires? Two decades after the imperial turn, this edited volume explores the state of recent scholarship on empires. It also invites new perspectives on this subject from political theory, intellectual history, global history and international relations, and high-lights not only the diversity of approaches and methods that can currently be used to conduct research into empires, but also their constant development. With contribution by David Armitage, Andreas Eckert, Eva Marlene Hausteiner, Ulrike von Hirschhausen, Sebastian Huhnholz, Ulrike Jureit, Jörn Leonhard, Samuel Moyn, Herfried Münkler, Stephan Stetter und Andreas Vasilache
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Chocano Díaz, Gema, and Noelia Hernando Real. ON LITERATURE AND GRAMMAR: A Selection of Annotated Medieval and Renaissance English Texts for (Spanish) University Students. Universidad Autónoma de Madrid, 2020. http://dx.doi.org/10.15366/9788483447475.ca.38.
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On Literature and Grammar gives students and instructors a carefully thought experience to combine their learning of Middle and Early Modern English and Medieval and Renaissance English Literature. The selection of texts, which include the most commonly taught works in university curricula, allows readers to understand and enjoy the evolution of the English language and the main writers and works of these periods, from William Langland to Geoffrey Chaucer, from Sir Philip Sidney to Sir Thomas Wyatt and Henry Howard, Earl of Surrey, and from Christopher Marlowe to William Shakespeare. Fully annotated and written to answer the real needs of current Spanish university students, these teachable texts include word-by-word translations into Present Day English and precise introductions to their linguistic and literary contexts.
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Forter, Greg. Critique and Utopia in Postcolonial Historical Fiction. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198830436.001.0001.
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Postcolonial historical fiction offers readers valuable resources for thinking the prehistory of our present. The genre’s treatment of colonialism as geographically omnivorous yet temporally “out of joint” with itself gives it a special purchase on the continuities between the colonial era and our own. These features also enable the genre to distill from our colonial pasts the evanescent, utopian intimations of a properly postcolonial future. Critique and Utopia in Postcolonial Historical Fiction arrives at these insights by juxtaposing novels from the Atlantic world with books from the Indian subcontinent. Attending to the links across these regions, Forter develops luminous readings of novels by Patrick Chamoiseau, J. G. Farrell, Amitav Ghosh, Marlon James, Hari Kunzru, Toni Morrison, Marlene van Niekerk, Arundhati Roy, Kamila Shamsie, and Barry Unsworth. He shows how these works not only transform our understanding of the colonial past and the futures that might issue from it, but also contribute to pressing debates in postcolonial theory—debates about the politics of literary forms, the links between cycles of capital accumulation and the emergence of new genres, the meaning of “working through” traumas in the postcolonial context, the relationship between colonial and panoptical power, the continued salience of hybridity and mimicry for the study of colonialism, and the tension between national liberation struggles and transnational forms of solidarity. Beautifully written and meticulously theorized, Critique and Utopia in Postcolonial Historical Fiction will be of interest to students of world literature, Marxist critics, postcolonial theorists, and thinkers of the utopian.
33
Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2012.
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34
Gatti, Hilary. Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2014.
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35
Gatti, Hilary. Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2013.
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37
Wofford, Susanne L. Foreign. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.25.
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This chapter focuses on the importation into English drama of elements that had their roots in European theatre as well as in classical sources and in English imaginations of the ancient past. It shows how this foreign material was absorbed by the plays of Christopher Marlowe, William Shakespeare, Thomas Dekker, Thomas Middleton, and John Marston, becoming fully international even when they appeared to be most local. It also considers several methodological categories for thinking in new ways about the problem of cultural translation that had come to define English theatre by 1600, including the need to recognize what it calls the ‘formal agency’ of the theatre’s many different parts—the tropes, genres, emotions, characters, geographies, and ideas that imported a richly overdetermined set of foreign cultural meanings onto the English stage. Three troping actions that describe the transformations brought about by the foreign on stage are discussed: the foreign as intertext, or trope intertextual; the foreign as intertheatrical, or intertheatrical trope; and translation, or trope intercultural.
38
Gatti, Hilary. Renaissance Drama of Knowledge: Giordano Bruno in England. Taylor & Francis Group, 2013.
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39
Hadfield, Andrew. Courtesy, Lying, and Politics. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198789468.003.0006.
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Chapter 5 is a discussion of courtesy books and political conduct manuals and whether the behaviour they recommend could or should be divorced from moral conduct, and, if so, what implications this had for truthfulness and whether courtiers were ever permitted to tell lies in the name of a greater good. Political speech has always been calculated, and it is rare to encounter ‘naïve communication—where a speaker states literally all that he thinks, and/or an audience accepts his representation at face value’. The chapter explores the question of whether small lies led to big lies or whether they could be contained, a central question asked in Edmund Spenser’s Faerie Queene. It provides analysis of a number of books on courtesy including Castiglione’s Book of the Courtier; Giovanni della Casa’s Galateo; Stefano Guazzo’s Ciuile Conuersation, and others, concluding with Machiavelli and Christopher Marlowe.
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Thomson, David. The Big Sleep. Bloomsbury Publishing Plc, 2020. http://dx.doi.org/10.5040/9781839021626.
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The Big Sleep: Marlowe and Vivian practising kissing; General Sternwood shivering in a hothouse full of orchids; a screenplay, co-written by Faulkner, famously mysterious and difficult to solve. Released in 1946, Howard Hawks' adaptation of Raymond Chandler reunited Bogart and Bacall and gave them two of their most famous roles. The mercurial but ever-manipulative Hawks dredged humour and happiness out of film noir. 'Give him a story about more murders than anyone can keep up with, or explain,' David Thomson writes in his compelling study of the film, 'and somehow he made a paradise.' When it was first shown to a military audience The Big Sleep was coldly received. So, as Thomson reveals, Hawks shot extra scenes, 'fun' scenes, to replace one in which the film's murders had been explained, and in so doing left the plot unresolved. Thomson argues that, if this was accidental, it also signalled a change in the nature of Hollywood cinema: 'The Big Sleep inaugurates a post-modern, camp, satirical view of movies being about other movies that extends to the New Wave and Pulp Fiction.'
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Beattie, Keith. Interview with D.A. Pennebaker. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252036590.003.0002.
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This chapter presents an interview with D. A. Pennebaker conducted by Jonathan Marlow in March 2006 during a tribute to Pennebaker at the Documentary Film Institute. Topics covered include his film Daybreak Express as one of the most stunning shorts ever made and at what point he decided to use Ellington as the springboard; the experiences that made him decide to pursue a career as a filmmaker; how he met Robert Drew; how much of his work with Drew, Richard Leacock and Albert Maysles was a matter of being in the right place at the right time; the unconventional editing for Dont Look Back; and the appeal of working with artists during a transitional stage in their careers.
42
Preedy, Chloe Kathleen. Aerial Environments on the Early Modern Stage. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192843326.001.0001.
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Abstract During the early days of the professional English theatre, dramatists including Dekker, Greene, Heywood, Jonson, Marlowe, Middleton, and Shakespeare wrote for playhouses that, though enclosed by surrounding walls, remained open to the ambient air and the sky above. The drama written for performance at these open-air venues drew attention to and reflected on its own relationship to the space of the air. At a time when theories of the imagination emphasized dramatic performance’s reliance upon the air through which its staged fictions were presented, plays written for performance at open-air venues frequently draw attention to that element’s theatrical significance. This book considers the various ways in which the air is brought into presence within early modern drama. Analysing more than a hundred works that were performed at London’s open-air playhouses between 1576 and 1609, I evaluate how the various textual, theatrical, and staging effects used by early modern dramatists and those presenting their plays might have foregrounded the Elizabethan and Jacobean theatre’s relationship to and impact on the actual air. I conclude that open-air drama’s ongoing attention to aerial imagery, actions, and representational strategies reflects an emerging dramaturgical consciousness that extended from the earth to encompass and make explicit the space of the air.
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Patterson, Jonathan. Villainy in France (1463-1610). Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198840015.001.0001.
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This is a book about the outward manifestation of inner malice—that is to say, villainy—in French culture (1463–1610). In pre-modern France, villainous offences were countered, if never fully contained, by intersecting legal and literary responses. Combining insights from legal anthropology with literary and historical analysis, this study examines villainy across juridical documents, criminal records, and literary texts (broadly conceived). While few people obtained justice through the law, many pursued out-of-court settlements of one kind or another. Literary texts commemorated villainies both fictitious and historical; literature sometimes instantiated the process of redress, and enabled the transmission of conflicts from one context to another. Villainy in France follows this overflowing current of pre-modern French culture, examining its impact within France and across the English Channel. Scholars and cultural critics of the Anglophone world have long been fascinated by villainy and villains. This book reveals the subject’s significant ‘Frenchness’ and establishes a transcultural approach to it in law and literature. Villainy’s particular significance emerges through its representation in authors remembered for their less-than respectable, even criminal, activities: François Villon, Clément Marot, François Rabelais, Pierre de L’Estoile, Christopher Marlowe, Ben Jonson, John Marston, and George Chapman. Villainy in France affords comparison of these authors alongside many of their lesser-known contemporaries; in so doing, it reinterprets French conflicts within a wider European context, from the mid-fifteenth century to the early seventeenth century.
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Trültzsch-Wijnen, Christine, and Gerhard Brandhofer, eds. Bildung und Digitalisierung. Nomos Verlagsgesellschaft mbH & Co. KG, 2020. http://dx.doi.org/10.5771/9783748906247.
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This volume discusses the challenges posed by digitalisation in the field of education from different professional perspectives. Authors from various disciplines analyse general theoretical questions, present current empirical findings, discuss didactic models and projects, and consider the use of digital media in tertiary education. In addition, they present specific projects from educational practice. With contributions by Alessandro Barberi, Gerhard Brandhofer, Josef Buchner, Markus Ebner, Martin Ebner, Nicole Duller, Walter Fikisz, Sonja Gabriel, Barbara Getto, Nina Grünberger, Elke Höfler, Fares Kayali, Michael Kerres, Philipp Leitner, Peter Micheuz, Marlene Miglbauer, Thomas Nárosy, Daniel Otto, Alexander Pfeiffer, Claudia Schreiner, Carmen Sippl, Elke Szalai, Caroline Roth-Ebner, Karin Tengler, Manfred Tetz, Christine W. Trültzsch-Wijnen, Thomas Wernbacher, Christian Wiesner
45
Hiscock, Andrew, and Helen Wilcox, eds. The Oxford Handbook of Early Modern English Literature and Religion. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199672806.001.0001.
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This pioneering handbook offers a comprehensive consideration of the dynamic relationship between English literature and religion in the early modern period. The years from the coronation of Henry VII to the death of Queen Anne were turbulent times in the history of the British Church—and produced some of the greatest devotional poetry, sermons, polemics, and epics of literature in English. The early modern interaction of rhetoric and faith is addressed in forty chapters of original research, divided into five sections. The first analyses the changes within the Church from the Reformation to the establishment of the Church of England, Puritanism, and the rise of Nonconformity. The second section discusses ten genres in which faith was explored, such as poetry, prophecy, drama, sermons, satire, and autobiographical writings. The third section focuses on individual authors, including Thomas More, Christopher Marlowe, John Donne, Lucy Hutchinson, and John Milton. The fourth section examines a range of communities in which writers interpreted their faith: lay and religious households, including Quakers and other sectarian groups, clusters of religious exiles, Jewish and Islamic communities, and settlers in the New World. The fifth section considers key topics in early modern religious literature, from ideas of authority and the relationship of body and soul, to death, judgement, and eternity. The handbook is framed by an introduction, a chronology of religious and literary landmarks, a guide for new researchers in this field, and a bibliography of primary and secondary texts relating to early modern English literature and religion.
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Bates, Catherine, and Patrick Cheney, eds. The Oxford History of Poetry in English. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.001.0001.
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Volume 4 of The Oxford History of Poetry in English aims to feature a history of the birth moment of modern ‘English’ poetry in greater detail than previous studies. To accomplish its aim, Sixteenth-Century British Poetry examines the literary transitions, institutional contexts, artistic practices, and literary genres within which poets compose their works. Each chapter combines an orientation to its topic and a contribution to the field. Specifically, the volume introduces a narrative about the advent of modern English poetry from Skelton to Spenser, attending to the events that underwrite the poets’ achievements: Humanism, Reformation, monarchism and republicanism, colonisation, print and manuscript, theatre, science, and companionate marriage. Featured are metre and form, figuration and allusiveness, and literary career, as well as a wide range of poets, from Wyatt, Surrey, and Isabella Whitney to Ralegh, Drayton, and Mary Herbert. Major works discussed include Sidney’s Astrophil and Stella, Spenser’s Faerie Queene, Marlowe’s Hero and Leander, and Shakespeare’s Sonnets.
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Allen, Jafari S. There's a Disco Ball Between Us. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021896.
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In There’s a Disco Ball Between Us, Jafari S. Allen offers a sweeping and lively ethnographic and intellectual history of what he calls “Black gay habits of mind.” In conversational and lyrical language, Allen locates this sensibility as it emerged from radical Black lesbian activism and writing during the long 1980s. He traverses multiple temporalities and locations, drawing on research and fieldwork conducted across the globe, from Nairobi, London, and Paris to Toronto, Miami, and Trinidad and Tobago. In these locations and archives, Allen traces the genealogies of Black gay politics and cultures in the visual art, poetry, film, Black feminist theory, historiography, and activism of thinkers and artists such as Audre Lorde, Marsha P. Johnson, Essex Hemphill, Colin Robinson, Marlon Riggs, Pat Parker, and Joseph Beam. Throughout, Allen renarrates Black queer history while cultivating a Black gay method of thinking and writing. In so doing, he speaks to the urgent contemporary struggles for social justice while calling on Black studies to pursue scholarship, art, and policy derived from the lived experience and fantasies of Black people throughout the world.
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Brown, Pamela Allen. The Diva's Gift to the Shakespearean Stage. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198867838.001.0001.
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The Diva’s Gift to the Shakespearean Stage traces the transnational connections between Shakespeare’s all-male stage and the first female stars in the West. The book is the first to use Italian and English plays and other sources to explore this relationship, focusing on the gifted actress who radically altered female roles and expanded the horizons of drama just as the English were building their first paying theaters. By the time Shakespeare began to write plays, women had been acting professionally in Italian troupes for two decades, traveling across the Continent and acting in all genres, including tragicomedy and tragedy. Isabella Andreini, Vittoria Piissimi, and Barbara Flaminia became the first truly international stars, winning royal and noble patrons and literary admirers beyond Italy; their artistry enabled mixed companies to expand in foreign markets, especially in France and Spain. Elizabeth and her court caught wind of the Italians’ success, and soon troupes with actresses came to London to perform. Through contacts direct and indirect, English playwrights grew keenly aware of the mimetic revolution wrought by the skilled diva, who expanded the innamorata and made the type more engaging, outspoken, and autonomous. Some Englishmen pushed back, treating the actress as a whorish threat to the all-male stage, which had long minimized female roles. Others saw a vital new resource. Faced with rising demand for Italian-style plays, Lyly, Marlowe, Kyd, and Shakespeare used Italian models from scripted and improvised drama to turn out stellar female parts in the mode of the actress, altering them in significant ways while continuing to use boys to play them. Writers seized on the comici’s materials and methods to piece together pastoral, comic, and tragicomic plays from mobile theatergrams—plot elements, star scenes, roles, stories, and speeches, such as cross-dressing, mad scenes, and spoken and sung laments. Shakespeare and his peers gave new prominence to female characters, marked their passions as un-English, and devised plots that figured them as self-aware agents, not counters traded between men. Playing up the skills and charisma of the boy player, they produced stunning roles charged with the diva’s prodigious theatricality and alien glamour. Rightly perceived, the diva’s star persona and acclaimed performances constituted challenging and timely gifts that provoked English playwrights to break with the past in enormously generative ways.
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Lavezzo, Kathy. The Accommodated Jew. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501703157.001.0001.
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England during the Middle Ages was at the forefront of European antisemitism. It was in medieval Norwich that the notorious “blood libel” was first introduced when a resident accused the city's Jewish leaders of abducting and ritually murdering a local boy. This book rethinks the complex and contradictory relation between England's rejection of “the Jew” and the centrality of Jews to classic English literature. Drawing on literary, historical, and cartographic texts, the book charts an entangled Jewish imaginative presence in English culture. It tracks how English writers from Bede to John Milton imagine Jews via buildings—tombs, latrines and especially houses—that support fantasies of exile. Epitomizing this trope is the blood libel and its implication that Jews cannot be accommodated in England because of the anti-Christian violence they allegedly perform in their homes. In the Croxton Play of the Sacrament, Marlowe's The Jew of Malta, and Shakespeare's The Merchant of Venice, the Jewish house not only serves as a lethal trap but also as the site of an emerging bourgeoisie incompatible with Christian pieties. In the book's epilogue, the chapters advance the inquiry into Victorian England and the relationship between Charles Dickens (whose Fagin is the second most infamous Jew in English literature after Shylock) and the Jewish couple that purchased his London home, Tavistock House, showing how far relations between gentiles and Jews in England had (and had not) evolved.
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Phillips, Alastair, and Ginette Vincendeau, eds. Journeys of Desire. Bloomsbury Publishing, 2006. http://dx.doi.org/10.5040/9781838710439.
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Journeys of Desire offers for the first time, a comprehensive critical guide to European actors in American film, bringing together 15 overview chapters with A-Z entries on over 900 individuals in one accessible and scholarly volume. Since the early days of the US film industry, European actors have consistently been a major force in Hollywood. Screen idols such as Charlie Chaplin, Greta Garbo, Marlene Dietrich, Charles Boyer, Audrey Hepburn, Maurice Chevalier, Arnold Schwarzenegger, and Antonio Banderas, as well as scores of more modest players, have profoundly shaped 'American' cinema. They have also contributed to the propagation of European types and stereotypes such as the 'Russian' and 'Nordic' queens played by Garbo and Dietrich, the French roues popularised by Chevalier, the fiery Latinos depicted by Banderas and the British arch-villains played by Steven Berkoff, Anthony Hopkins and Tim Roth. Films such as 'Casablanca' (1942), 'Gigi' (1958), 'Green Card' (1990), and 'Vanilla Sky' (2001), among many others, would not be the same without them. Contributions from a team of 70 international experts provide groundbreaking case studies of prominent individuals and phenomena associated with the emigres, such as the retired Russian officers who played crowds in silent films, the stereotyping of European actresses in 'bad women' roles, and the ultimate irony of Jewish actors playing Nazis. Individual entries chart the careers and screen performances of the European actors - from Victoria Abril to Mai Zetterling - who appeared in American movies.