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Journal articles on the topic 'Marlowe theory'

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Published: 4 June 2021

Last updated: 4 March 2023

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1

deNiord, C. "After Marlowe." Literary Imagination 10, no. 3 (June 3, 2008): 295. http://dx.doi.org/10.1093/litimag/imn053.

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2

Hadfield, Andrew. "Marlowe and Nashe." English Literary Renaissance 51, no. 2 (March 1, 2021): 190–216. http://dx.doi.org/10.1086/713483.

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3

Graham Hammill. "Time for Marlowe." ELH 75, no. 2 (2008): 291–314. http://dx.doi.org/10.1353/elh.0.0005.

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4

Hill, Christopher. "Review: Christopher Marlowe." Literature & History 2, no. 1 (March 1993): 106–7. http://dx.doi.org/10.1177/030619739300200114.

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5

Weil, Judith, and Malcolm Kelsall. "Christopher Marlowe." Modern Language Review 80, no. 4 (October 1985): 904. http://dx.doi.org/10.2307/3728975.

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6

Weil, Judith, and Roger Sales. "Christopher Marlowe." Modern Language Review 89, no. 1 (January 1994): 193. http://dx.doi.org/10.2307/3733178.

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7

Robertson, Lynne. "Marlowe and Luther." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 12, no. 4 (January 1999): 3–6. http://dx.doi.org/10.1080/08957699909598069.

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8

Cheney, Patrick. "Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's Artistry." English Studies 90, no. 3 (June 2009): 366–68. http://dx.doi.org/10.1080/00138380902796896.

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9

Jarrett, Joseph. "Algebra and the art of war." Cahiers Élisabéthains: A Journal of English Renaissance Studies 95, no. 1 (January 3, 2018): 19–39. http://dx.doi.org/10.1177/0184767817749248.

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In his Tamburlaine plays, Marlowe broached a difficulty of dramaturgy: how can an acting company of a dozen men convey to their audience the scale of military battles involving thousands? Here, I argue that algebra provided Marlowe his solution. I reconsider the numbers critics have noticed are ubiquitous throughout Tamburlaine 1 and 2 in terms of their algebraic functions and their role in effecting an algebraic stage. My contention is that Marlowe utilized algebra to create a unique aesthetic of warfare, in which the enormity of battle could be played out imaginatively within the small space of the Elizabethan theatre.

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10

Perry, Curtis. "The Politics of Access and Representations of the Sodomite King in Early Modern England." Renaissance Quarterly 53, no. 4 (2000): 1054–83. http://dx.doi.org/10.2307/2901456.

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This essay treats the image of the sodomite king—in Marlowe's Edward II and in the gossip surrounding James I and his favorites — as a figurative response to resentments stemming from the regulation of access to the monarch. Animosities in Marlowe's play anticipate criticism of the Jacobean Bedchamber in part because Marlowe was responding to libels provoked by innovations in the chamber politics of the French king Henri III that also anticipate Jacobean practice. The figure of the sodomite king offers a useful vehicle to explore tensions between personal and bureaucratic monarchy that are exacerbated by the regulation of access.

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11

Lenker, Lagretta Tallent. "Looking for Christopher Marlowe." College Literature 34, no. 1 (2007): 213–22. http://dx.doi.org/10.1353/lit.2007.0006.

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12

Lennard, John, Paul Whitfield White, Patrick Cheney, and David J. Baker. "Marlowe, History, and Sexuality: New Critical Essays on Christopher Marlowe." Modern Language Review 96, no. 3 (July 2001): 797. http://dx.doi.org/10.2307/3736759.

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13

Christopher Marlowe and Translated by A. M. Juster. "Marlowe on Manwood." Arion: A Journal of Humanities and the Classics 21, no. 3 (2014): 29. http://dx.doi.org/10.2307/arion.21.3.0029.

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14

Kim, Jaecheol. "Marlowe’s sacred city and the walls in The Jew of Malta." Cahiers Élisabéthains: A Journal of English Renaissance Studies 101, no. 1 (January 22, 2020): 26–44. http://dx.doi.org/10.1177/0184767819897367.

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This essay surveys the juridical and biopolitical significance of the city walls in Christopher Marlowe’s The Jew of Malta. Early modern cities were designed to control the spread of diseases, and the city space embodied discipline and governmentality. The function of Malta’s walls is to protect the corpus politicum against pathogens, marking the distinction between physis and nomos. Marlowe defines this function by representing lives without: the national body is conceived as a living organism threatened by alien bodies. In the play’s medicinal rhetoric, pathogenic infiltrations of Turks and Catholics are destroyed by another invasive body, a Jew.

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15

Berek, Peter. "The Jew as Renaissance Man." Renaissance Quarterly 51, no. 1 (1998): 128–62. http://dx.doi.org/10.2307/2901665.

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AbstractThe Jew available to be known in England in the 1590s is a Marrano - a covert figure whose identity is self-created, hard to discover, foreign, associated with novel or controversial enterprises like foreign trade or money-lending, and anxiety-producing. By and large, non-theatrical representations of Jewishness reveal less ambivalence than does Marlowe's Barabas. In the plays of Marlowe and then of Shakespeare, the Jew becomes a figure which enables the playwright to express and at the same time to condemn the impulse in both culture and theatre to treat selfhood and social role as a matter of choice. By becoming theatrical, the anxiety about identity and innovation implicit in the Marrano state gains explicitness and becomes available to the culture at large. Marlowe and Shakespeare play a central role in creating - not imitating - the frightening yet comic Jewish figure which haunts Western culture. But the immediate impact of their achievement is felt in the theatre, and is barely visible in non-theatrical discourse about Jews in the decades after their plays.

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16

MUIR, KENNETH. "THREE MARLOWE TEXTS." Notes and Queries 43, no. 2 (June 1, 1996): 142–44. http://dx.doi.org/10.1093/nq/43-2-142.

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17

MUIR, KENNETH. "THREE MARLOWE TEXTS." Notes and Queries 43, no. 2 (1996): 142–44. http://dx.doi.org/10.1093/nq/43.2.142.

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18

LEVAO, RONALD. "Recent Studies in Marlowe (1977–1986)." English Literary Renaissance 18, no. 2 (March 1988): 329–42. http://dx.doi.org/10.1111/j.1475-6757.1988.tb00959.x.

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19

CHENEY, PATRICK. "Recent Studies in Marlowe (1987–1998)." English Literary Renaissance 31, no. 2 (March 2001): 288–328. http://dx.doi.org/10.1111/j.1475-6757.2001.tb01191.x.

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20

Engle, Lars. "Oedipal Marlowe, Mimetic Middleton." Modern Philology 105, no. 3 (February 2008): 417–36. http://dx.doi.org/10.1086/591256.

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21

Macwan, Sunil. "Populist Improvisation." Renascence 72, no. 4 (2020): 195–213. http://dx.doi.org/10.5840/renascence202072413.

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Successfully creating polarizing narratives, several populist leaders have come to dominate the global political sphere in recent times. However, the coronavirus pandemic has raised serious questions over their ability to respond to its challenges effectively. Whether they will remain in power after the pandemic is an intriguing question. The key to understanding the dynamics of power among populist leaders lies in analyzing the tactics they employ for the appropriation of political power. In this context, reading Christopher Marlowe’s Tamburlaine the Great (1587) can play an important role. This essay, therefore, argues that through a unique characterization of Tamburlaine the Great, Marlowe critiques Queen Elizabeth’s aggressive political maneuvers of improvisation, which enabled her to reinforce her divine claim over the throne of England. Yet striking historical and literary references suggest that Queen Elizabeth and Marlowe’s Tamburlaine attempted to achieve improvisation through similar means but in the end encountered the transience and limits of their temporal powers, while facing the biological realities of barrenness and heredity – a fact that should serve as a warning to the current populist leaders across the world.

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22

Keck, David. "Marlowe and Ortelius's Map." Notes and Queries 52, no. 2 (June 1, 2005): 189–90. http://dx.doi.org/10.1093/notesj/gji216.

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23

Happé, Peter. "Park Honan, Christopher Marlowe: Poet and Spy.Lisa Hopkins, A Christopher Marlowe Chronology." Notes and Queries 55, no. 1 (March 1, 2008): 87–89. http://dx.doi.org/10.1093/notesj/gjm289.

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24

Vaughan, Virginia Mason, and James Shapiro. "Rival Playwrights: Marlowe, Jonson, Shakespeare." Shakespeare Quarterly 44, no. 1 (1993): 110. http://dx.doi.org/10.2307/2871182.

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25

Skorasińska, Monika. "Can in Shakespeare and Marlowe." Studia Anglica Posnaniensia 49, no. 1 (March 1, 2014): 31–55. http://dx.doi.org/10.2478/stap-2014-0002.

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ABSTRACT This paper seeks to present the main meanings and the use of the modal verb can in the plays of two Early Modern English playwrights, William Shakespeare and Christopher Marlowe. In particular, the study aims at presenting a comparative analysis and provides descriptive as well as quantitative data. The research is based on the analysis of the corpus consisting of the plays written by Shakespeare and Marlowe between 1593-1599. The choice of the works is not random but includes the plays which bear the strongest resemblance in terms of theme, structure, and most importantly, the language of both authors.

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26

Brown, Richard Danson, and Park Honan. "Christopher Marlowe: Poet & Spy." Modern Language Review 102, no. 4 (October 1, 2007): 1136. http://dx.doi.org/10.2307/20467566.

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27

Ward, Allyna E. "Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's Artistry by Robert A. Logan." Modern Language Review 104, no. 1 (2009): 161–62. http://dx.doi.org/10.1353/mlr.2009.0293.

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28

Black, James. "Hamlet hears Marlowe; Shakespeare reads Virgil." Renaissance and Reformation 30, no. 4 (January 21, 2009): 17–28. http://dx.doi.org/10.33137/rr.v30i4.11519.

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The excerpt from Aeneas' tale to Dido which Hamlet elicits from the Player is based in part on Marlowe's Dido Queen of Carthage. As a melodramatic description of the culmination of the Trojan war with the slaughter of Priam, the Player's speech appears to be specified by Hamlet because it recalls Old Hamlet's preceding account of his own murder — a report which figures Old Hamlet's body as an assailed citadel. These two accounts, with other Virgilian and contemporary allusions, associate the action and apparent inaction of Hamlet with the manoeuvres and stalemates of an extended siege war. Elizabethan land warfare was chiefly siege campaigning, and there was an extensive contemporary literature on this mode of conflict. Marrying Virgil's account of Troy to Renaissance siegecraft theory, Shakespeare makes the Aeneid and elements of contemporary warfare an entelechy of Hamlet.

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29

Danson, Lawrence. "Continuity and Character in Shakespeare and Marlowe." Studies in English Literature, 1500-1900 26, no. 2 (1986): 217. http://dx.doi.org/10.2307/450505.

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30

Radel, N. F. "Sexuality and Form: Caravaggio, Marlowe, and Bacon." Modern Language Quarterly 63, no. 4 (December 1, 2002): 543–45. http://dx.doi.org/10.1215/00267929-63-4-543.

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31

Downie, J. A. "Marlowe, May 1593, and the 'Must-Have' Theory of Biography." Review of English Studies 58, no. 235 (June 14, 2007): 245–67. http://dx.doi.org/10.1093/res/hgm040.

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32

Horowitz. "Circumcised Dogs from Matthew to Marlowe." Prooftexts 27, no. 3 (2007): 531. http://dx.doi.org/10.2979/pft.2007.27.3.531.

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33

Pincombe, M. "'Gloomy Orion': Eliot, Marlowe, Virgil." Notes and Queries 50, no. 3 (September 1, 2003): 329–30. http://dx.doi.org/10.1093/nq/50.3.329.

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34

Hopkins, L. "ROBERT A. LOGAN, Shakespeare's Marlowe." Notes and Queries 54, no. 3 (September 1, 2007): 339–41. http://dx.doi.org/10.1093/notesj/gjm165.

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35

Schleiner, Winfried, and Gregory W. Bredbeck. "Sodomy and Interpretation: Marlowe to Milton." Shakespeare Quarterly 44, no. 4 (1993): 501. http://dx.doi.org/10.2307/2871012.

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36

Pettigrew, Todd H. J. "‘Faustus… For Ever’: Marlowe, Bruno, and Infinity." Comparative Critical Studies 2, no. 2 (June 2005): 257–69. http://dx.doi.org/10.3366/ccs.2005.2.2.257.

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37

Kuriyama (book author), Constance Brown, and Rick Bowers (review author). "Christopher Marlowe: A Renaissance Life." Renaissance and Reformation 38, no. 2 (January 1, 2002): 91–94. http://dx.doi.org/10.33137/rr.v38i2.8777.

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38

Dutton, Richard, Clifford Leech, Anne Lancashire, Christopher Marlowe, Roma Gill, and William Tydeman. "Christopher Marlowe: Poet for the Stage." Modern Language Review 84, no. 4 (October 1989): 922. http://dx.doi.org/10.2307/3731177.

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39

Lee, John, and Patrick Cheney. "The Cambridge Companion to Christopher Marlowe." Modern Language Review 101, no. 4 (October 1, 2006): 1097. http://dx.doi.org/10.2307/20467055.

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40

Shepherd, Simon, and Gregory W. Bredbeck. "Sodomy and Interpretation: Marlowe to Milton." Modern Language Review 89, no. 2 (April 1994): 440. http://dx.doi.org/10.2307/3735253.

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41

Egan, Gabriel, and Leah S. Marcus. "Unediting the Renaissance: Shakespeare, Marlowe, Milton." Modern Language Review 93, no. 2 (April 1998): 469. http://dx.doi.org/10.2307/3735371.

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42

May, S. W. "Marlowe, Spenser, Sidney and--Abraham Fraunce?" Review of English Studies 62, no. 253 (February 11, 2010): 30–63. http://dx.doi.org/10.1093/res/hgp117.

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43

Kirk, Andrew M. "Marlowe and the Disordered Face of French History." Studies in English Literature, 1500-1900 35, no. 2 (1995): 193. http://dx.doi.org/10.2307/451022.

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44

Hopkins, L. "CHRISTOPHER MARLOWE, The Collected Poems of Christopher Marlowe, ed. PATRICK CHENEY and BRIAN J. STRIAR." Notes and Queries 54, no. 1 (March 1, 2007): 97–98. http://dx.doi.org/10.1093/notesj/gjm041.

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45

Hattaway, Michael, and Simon Shepherd. "Marlowe and the Politics of Elizabethan Theatre." Shakespeare Quarterly 38, no. 3 (1987): 384. http://dx.doi.org/10.2307/2870519.

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46

HAMMER, PAUL E. J. "A Reckoning Reframed: The “Murder” of Christopher Marlowe Revisited." English Literary Renaissance 26, no. 2 (March 1996): 225–42. http://dx.doi.org/10.1111/j.1475-6757.1996.tb01490.x.

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47

Dutton, Richard, Simon Shepherd, Christopher Marlowe, David Ormerod, Christopher Wortham, and Robert C. Jones. "Marlowe and the Politics of Elizabethan Theatre." Modern Language Review 83, no. 4 (October 1988): 948. http://dx.doi.org/10.2307/3730920.

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48

Davis, Alex, Graham L. Hammill, and Diana B. Altegoer. "Sexuality and Form: Caravaggio, Marlowe and Bacon." Modern Language Review 97, no. 3 (July 2002): 670. http://dx.doi.org/10.2307/3737500.

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49

Shepherd, Simon, and Emily C. Bartels. "Spectacles of Strangeness: Imperialism, Alienation, and Marlowe." Modern Language Review 90, no. 2 (April 1995): 407. http://dx.doi.org/10.2307/3734558.

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50

Meek, Richard, Takashi Kozuka, J. R. Mulryne, and David M. Bergeron. "Shakespeare, Marlowe, Jonson: New Directions in Biography." Modern Language Review 103, no. 4 (October 1, 2008): 1105. http://dx.doi.org/10.2307/20468047.

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