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Journal articles on the topic 'Marlowe'

Author: Grafiati

Published: 4 June 2021

Last updated: 30 July 2024

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1

O’Halloran, Meadhbh. "The Medieval World on the Renaissance Stage." Boolean: Snapshots of Doctoral Research at University College Cork, no. 2015 (January 1, 2015): 163–65. http://dx.doi.org/10.33178/boolean.2015.33.

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Christopher Marlowe (1564-1593) was an Elizabethan playwright, poet and translator, and also an exact contemporary of William Shakespeare. Marlowe was the first to develop the blank verse format for which Shakespeare would become famous. Marlowe’s promising career abruptly ended with his sudden, violent death at the age of 29. Soon after, Shakespeare achieved his first successes on the London stage. Understandably, Marlowe’s work has often been considered in relation to his famous successor, and many conspiracy theories propose that Shakespeare was Marlowe. In the popular 1998 film Shakespeare

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2

Zavrl, Andrej. "Christopher Marlowe in Slovenia." Journal of Marlowe Studies 4 (2024): 62–91. http://dx.doi.org/10.7190/jms.4.2024.pp62-91.

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The article provides a summary of the reception of Christopher Marlowe in the Slovenian literary system. It addresses Marlowe’s appreciation in literary history and criticism, the translation of his texts into Slovenian and the productions of Marlowe’s plays in Slovenian theatres. Is approaches the issues through the prism of Marlowe’s perceived dissidence to see how the Slovenian constructions of the author compare to his reputation in the English literary system.

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3

Kim, Taeyoung. "Religious Hypocrisy and Dichotomous Frames in The Massacre at Paris." British and American Language and Literature Association of Korea 149 (June 30, 2023): 21–37. http://dx.doi.org/10.21297/ballak.2023.149.21.

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Dichotomously distinguishing whether Christopher Marlowe's The Massacre at Paris advocates Protestantism makes it difficult to objectively appreciate this play. If we avoid such distinctions and read this work in the general context, we can discover the universal nature and values of human society. The central characters, the French Catholics, in this play justify their distorted desires with their religious beliefs and thoroughly otherize others’ religion in the name of protecting the state and religion. However, this discrimination and oppression occur in the UK in the same way. Both Protest

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4

Habib, Muhammad Saleh. "Damnation: The Downfall of Marlowe’s Dr. Faustus and his Intellectualism." Journal of English Language, Literature and Education 3, no. 4 (2022): 1–10. http://dx.doi.org/10.54692/jelle.2022.0304105.

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The current study aims at investigating the downfall of Marlowe’s Dr. Faustus and his intellectualism. For the said purpose, a play by Christopher Marlowe named “Dr. Faustus” was selected. The study textually and qualitatively analyzes the text The Tragical History of Dr. Faustus by Christopher Marlowe. Faustus’ character in Marlowe’s play is an embodiment of his atheistic views. Faustus’ free will leads to his damnation which then becomes a pinnacle reason for his downfall. Faustus’ thirst for intellectual power beyond the limitations of his reason becomes his damning hamartia. In this way, F

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5

Kim, Taeyoung. "The Religious and Political Defiance and the Reinterpretation of the Morality Play Implied in Doctor Faustus." British and American Language and Literature Association of Korea 146 (September 30, 2022): 41–60. http://dx.doi.org/10.21297/ballak.2022.146.41.

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From a religious perspective, Christopher Marlowe’s Doctor Faustus has primarily been analyzed in two contrasting ways. Some critics have claimed that this play advocates orthodox Christianity and others have argued that Marlowe defies Christianity and the Elizabethan England in the 16th century. There are several reasons why the interpretation of this play has been divided into conflicting views: the confusion in the aftermath of the Reformation, the unexplained notoriety for Marlowe being an atheist, and much of his life and death that has remained a mystery. Both sides have taken a confront

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6

Freebury-Jones, Darren, and Marcus Dahl. "Searching for Thomas Nashe in Dido, Queen of Carthage." Digital Scholarship in the Humanities 35, no. 2 (2019): 296–306. http://dx.doi.org/10.1093/llc/fqz008.

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Abstract The title page of the 1594 Quarto text of Dido, Queen of Carthage assigns the play to two authors: Christopher Marlowe and Thomas Nashe. Some scholars, such as J. P. Collier, F. G. Fleay, Alexander Grosart, Tucker Brooke, and Thomas Merriam, have argued that Marlowe and Nashe co-authored the play, or that Nashe added significant material to Marlowe’s text. This article assesses the internal evidence for Nashe’s hand in the play by examining its prosody, vocabulary, phraseology, rhyming habits, and stage directions in comparison to works ascribed to Nashe and Marlowe. The article also

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7

Alqadumi, Emad A. "The iconoclastic theatre: transgression in Christopher Marlowe’s Tamburlaine." EJOTMAS: Ekpoma Journal of Theatre and Media Arts 7, no. 1-2 (2020): 281–93. http://dx.doi.org/10.4314/ejotmas.v7i1-2.18.

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This article examines Christopher Marlowe’s iconoclasm as a dramatist by probing transgressive features in his Tamburlaine the Great, parts I and II. By depicting instances of excessive violence, from the perspective of this study, Marlowe flouts everything his society cherishes. His Tamburlaine demystifies religious doctrines and cultural relations; it challenges the official view of the universe and customary theatrical conventions of Renaissance drama. It destabilizes the norms and values of the Elizabethans and brings about a crisis between the Elizabethan audience and their own culture. F

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8

Miller-Blaise, Anne-Marie, and Christine Sukic. "A Massacre at Paris in French Translation: from Page to Stage." Journal of Marlowe Studies 4 (2024): 45–61. http://dx.doi.org/10.7190/jms.4.2024.pp45-61.

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In 2020, when we began working on plans for a special Marlowe Festival and conference to be held in Rheims and Paris that would bring together Marlowe specialists and historians of the French wars of religion on the occasion of the 450th anniversary of the Saint Bartholomew’s Day Massacre, it very quickly became obvious that we wished not just to discuss Marlowe’s last play, but also to stage it. What text, though, would serve for our French staging of Massacre at Paris? What was the history of the text in translation and what were the antecedents to our own project? These questions have led u

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9

Pendergraft, Stacy. "Marlowe Mee: Constructing the Marlowe Project." Shakespeare Bulletin 27, no. 1 (2009): 51–62. http://dx.doi.org/10.1353/shb.0.0051.

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10

Eriksen, Roy. "Marlowe and Prayer." Early Modern Culture Online 8, no. 1 (2022): 1–21. http://dx.doi.org/10.15845/emco.v8i1.3710.

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This article argues that Marlowe's persuasive dramatic poetry, the admired but also ridiculed “mighty line,” is closely related to Marlowe's theological training in general and to prayer in particular. The conventions of sincere prayer alluded to in the Good Angel’s line to Faustus in II.i.16 seem deliberately to be pitted against the friars’ traditional or “Catholic,” prayer-like incantation to expell him. Why there has been little focus on this aspect of Marlowe’s grounding in biblical style is hard to tell, especially when there has been such interest in contemporary theological issues in g

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11

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

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12

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

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13

Erne, Lukas. "Disintegrating Marlowe." Studies in Philology 119, no. 22 (2021): 272–97. http://dx.doi.org/10.1353/sip.2021.0036.

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14

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

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15

HAMEED MANA DAIKH. "Narrator’s Reliability in Joseph Conrad’s Heart of Darkness." journal of the college of basic education 2, SI (2022): 75–86. http://dx.doi.org/10.35950/cbej.v2isi.5720.

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Most of the time, the major characters in a literary work especially the protagonist is assumed to be, at least, another image of the author. So, the leading character in the novella is another replica of Conrad. He, both in reality and in fiction, plays the main role in the journey to the dark continent and enriches the novella with his rational observations. The journey of 1890 Conrad participated in Congo has transformed him into a distorted, full of wounds, emotionally defeated, and sick. Marlowe was very enthusiastic and attempted to polish the ugly picture of imperialism. Therefore, befo

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16

Fehrenbach, R. J. "Another Pre-1592 Copy of the English Faust Book." Library 20, no. 3 (2019): 395–96. http://dx.doi.org/10.1093/library/20.3.395.

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Abstract A second copy of a pre-1592 edition of the English Faust Book, Marlowe’s source for Doctor Faustus, has been uncovered in a catalogue of books owned by a London apothecary. This catalogue, of which at least a quarter are books associated with an apothecary’s profession, was compiled by the owner himself, one Edward Barlow, and, most importantly, is firmly dated 17 November 1589/90. This discovery, made by Peter Murray Jones of King’s College, Cambridge, is the second appearance of that book prior to the publication of its only extant edition in 1592, providing confirmation that Marlow

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17

Zayniddinovna, Tasheva Nafisa. "CHARACTERIZATION OF THE IMAGE OF AMIR TEMUR IN CHRISTOPHER MARLOWE'S DRAMA "TAMERLANE THE GREAT"." International Journal Of Literature And Languages 03, no. 02 (2023): 36–43. http://dx.doi.org/10.37547/ijll/volume03issue02-08.

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The article is dedicated to the problem of the determination of historical validity degree of Amir Temur’s image in Christopher Marlowe’s drama "Tamburlaine the Great". Basing on variety of sources, the author comes to conclusion that when writing the drama "Tamburlaine the Great" Marlowe did not address to the historical sources deserving confidences and in the result the drama as a whole does not correspond to historical truth in sufficient degree.

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18

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 exa

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19

Fraboni, Maryann, and Douglas Cooper. "Further Validation of Three Short Forms of the Marlowe-Crowne Scale of Social Desirability." Psychological Reports 65, no. 2 (1989): 595–600. http://dx.doi.org/10.2466/pr0.1989.65.2.595.

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This study evaluates three short forms of the Marlowe-Crowne Scale of Social Desirability (M-C Scale). Descriptive data, scale intercorrelations, and alpha coefficients are reported for the original Marlowe-Crowne Scale and the three short forms for a sample of 231 subjects and for subsamples of 72 men, 151 women, 109 college students, and 122 employed adults. Four separate multiple regression analyses were used to estimate the amount of variability in Marlowe-Crowne scores which could be attributed to age and socioeconomic status. Results were consistent with the original studies of the scale

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20

Umunç, Himmet. "On her Majesty's Secret Service: Marlowe and Turkey*." Belleten 70, no. 259 (2006): 903–18. http://dx.doi.org/10.37879/belleten.2006.903.

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Since the early 1990s, there has been a great deal of serious in-depth research on the Elizabethan dramatist Christopher Marlowe (1564-1593), whereby his historically admitted career and connection with Shakespeare have been revisited, and consequently a comprehensive controversy among Marlowe students has risen with regards to a wide range of issues including his involvement in Elizabeth's secret service. Historically, it is true that, while he was a student at Cambridge from 1580 to 1587, he was secretly recruited to become an agent and, thus, from 1583 onwards, was sent abroad on secret mis

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21

Saenger, Michael. ":Marlowe’s Ovid: The Elegies in the Marlowe Canon." Sixteenth Century Journal 46, no. 2 (2015): 421–22. http://dx.doi.org/10.1086/scj4602119.

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22

Seri Malini, LuhNyoman, and Effa ChalisahJawas. "The Interpretation of Marlowe’s Hero and Leander Poem in Correlation with Elizabethan Era." International Journal of Applied Linguistics and English Literature 7, no. 3 (2018): 73. http://dx.doi.org/10.7575/aiac.ijalel.v.7n.3p.73.

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This research aims to discover the relation between the historical background in the Elizabethan Era and the poem by Christopher Marlowe entitled Hero and Leander which is written during this Era (published in 1598) and the characters’ gender orientation which are also influenced by the Era. This research uses descriptive-qualitative method since the data is collected by reading then it is identified and analyzed by the writers about the characters’ gender orientation of Marlowe’s Hero and Leander poem. In analyzing the data, for the maindata, the writers usetheprimary data source. As it is a

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23

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

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24

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

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25

Kello, Robin Alfriend. "Marlowe Lives Cabaret." Shakespeare Bulletin 39, no. 4 (2021): 732–35. http://dx.doi.org/10.1353/shb.2021.0066.

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26

Lander, Jesse M., J. A. Downie, and J. T. Parnell. "Constructing Christopher Marlowe." Sixteenth Century Journal 32, no. 3 (2001): 804. http://dx.doi.org/10.2307/2671529.

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27

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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28

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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29

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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30

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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31

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

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32

Bevington, David. "Marlowe and God." Explorations in Renaissance Culture 17, no. 1 (1991): 1–38. http://dx.doi.org/10.1163/23526963-90000125.

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33

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

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34

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 (2001): 797. http://dx.doi.org/10.2307/3736759.

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35

Ardolino, Frank, and Robert Logan. "Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's Artistry." Sixteenth Century Journal 39, no. 2 (2008): 466. http://dx.doi.org/10.2307/20478897.

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36

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

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37

Bednarz, James P. "Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's Artistry (review)." Comparative Drama 41, no. 3 (2007): 373–77. http://dx.doi.org/10.1353/cdr.2007.0025.

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38

Stanivukovic, Goran V. "Shakespeare's Marlowe: The Influence of Christopher Marlowe on Shakespeare's Artistry (review)." Shakespeare Quarterly 59, no. 1 (2008): 93–96. http://dx.doi.org/10.1353/shq.2008.0007.

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39

Brown, S. A. "M. L. STAPLETON. Marlowe's Ovid: The Elegies in the Marlowe Canon." Review of English Studies 66, no. 275 (2014): 574–75. http://dx.doi.org/10.1093/res/hgu096.

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40

Jarrett, Joseph. "Algebra and the art of war." Cahiers Élisabéthains: A Journal of English Renaissance Studies 95, no. 1 (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

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41

Foster, Brett, and Lisa Hopkins. "A Christopher Marlowe Chronology." Sixteenth Century Journal 39, no. 4 (2008): 1198. http://dx.doi.org/10.2307/20479198.

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42

Morgan, C. "Reconsidering Corkyn v. Marlowe." Notes and Queries 59, no. 4 (2012): 511–13. http://dx.doi.org/10.1093/notesj/gjs164.

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43

RHODES, NEIL. "Marlowe and the Greeks." Renaissance Studies 27, no. 2 (2011): 199–218. http://dx.doi.org/10.1111/j.1477-4658.2011.00796.x.

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44

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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45

Beal, Wesley. "Philip Marlowe, Family Man." College Literature 2014, no. 2 (2014): 11–28. http://dx.doi.org/10.1353/lit.2014.0021.

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46

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

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47

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

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48

Le Pellec, Yves. "Marlowe narrateur, Chandler complice." Caliban 23, no. 1 (1986): 95–110. http://dx.doi.org/10.3406/calib.1986.1190.

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49

Ashworth-King, Erin. ":Christopher Marlowe." Sixteenth Century Journal 43, no. 2 (2012): 463–64. http://dx.doi.org/10.1086/scj24245426.

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50

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

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