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Popelard, Mickaël. "Faustus, Prospero, Salomon : la représentation du savant en Angleterre à l'époque de la Révolution Scientifique." Paris 3, 2007. http://www.theses.fr/2007PA030098.
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En Angleterre, la révolution scientifique coïncide avec la Renaissance. Il n'est pas surprenant dès lors que Marlowe et Shakespeare s'emparent de la figure du savant dans Doctor Faustus et The Tempest. La science est encore plus présente dans l'oeuvre de Bacon : New Atlantis dépeint une société idéale dont la prospérité et le bonheur dépendent d'une institution scientifique nommée "Maison de Salomon". Le terme "savant" est néanmoins problématique. Il ne correspond à aucune catégorie sociale ou culturelle de l'époque. On peut cependant tenter de définir certains des traits que partagent alors les "philosophes naturels" : quoique très influencés par l'humanisme, ils témoignent d'un très vif intérêt pour la technique et tentent de défendre la magie contre les critiques féroces des théologiens. Ces trois aspects – l'humanisme, la magie et la technique – trouvent à leur façon leur place dans The Tempest et Doctor Faustus. La représentation populaire du savant hésite entre rejet et raillerie. Le savant est perçu soit comme un dangereux athée, soit comme un mélancolique inadapté au réel. Ce n'est pas à dire que la représentation littéraire ou sociale du savant soit parfaitement uniforme. Les savants prennnent, pour leur part, de plus en plus conscience de la communauté à laquelle ils appartiennent : la rhétorique agonistique s'efface derrière l'affirmation d'une nouvelle sociabilité. Mais la science demeure une activité ambiguë jusqu'à la fin de la période. L'enthousiasme de Bacon s'oppose à l'image plus ambivalente que Marlowe et Shakespeare proposent de la science, dont on sait combien la littérature, par la suite, critiquera les dérives potentiellesIn England the dawn of the "Scientific Revolution" coincided with the Renaissance. It is therefore no accident that dramatists like Marlowe and Shakespeare seized on the figure of the "scientist" in Doctor Faustus and The Tempest. Science is even more present a theme in Bacon's works : in New Atlantis he describes an ideal society whose prosperity and comfort depend on a scientific institution which he calls the "House of Salomon. " The "scientist" was certainly not a "natural" feature of the social or cultural environment. One may say, however, that "natural philosophers", as they were sometimes called, shared a number of common characteristics. While still very much influenced by the humanist tradition, they expressed a very strong interest in technology. They also believed in magic and tried to legitimize its use in the face of the theologians' strictures. All three aspects – humanism, magic and technology – found their way into Doctor Faustus and The Tempest. On the whole, the popular image of the scientist was poised between rejection and mockery. He was seen either as a dangerous atheist or as a melancholy man detached from reality. Yet the literary depiction of the scientist was by no means a uniform one. Scientific treatises reveal the scientists' growing sense that they belonged to a learned community. They stopped emphasizing their isolation and gave prominence to their links with other scientists. Science remained an ambivalent pursuit until the end of the period. Bacon's enthusiasm is profoundly at odds with Shakespeare's or Marlowe's more ambivalent depiction which prefigures the later literary representations of science as a potentially destructive activity
2
Matthews, Michelle M. "MAGICIAN OR WITCH?: CHRISTOPHER MARLOWE'S DOCTOR FAUSTUS." Connect to this title online, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1143482826.
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黃國鉅 and Kwok-kui Wong. "Representing crises in German culture in Doctor Faustus." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1998. http://hub.hku.hk/bib/B31220095.
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Jones, Louise. "Stage action as metaphor in Marlowe's Doctor Faustus." Virtual Press, 1991. http://liblink.bsu.edu/uhtbin/catkey/774755.
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The purpose of the study is to establish the critical need for stage action in order to understand fully the theme of Marlowe's Doctor Faustus. Marlowe's primary intent is to invert the morality play, illustrating the distortions and ambiguities of a systematized religion and to establish the human dilemma when man is faced with moral choices. To illustrate this inversion, Marlowe uses emblematic action for an effect opposite to that of the traditional moralities: Often this action goes beyond the emblem, becoming a metaphor for Marlowe's theme, man as a victim, conflicting within himself and within the system which governs his morality.Chapter one introduces this theme and the crucial need for staging Marlowe's ideas. The first chapter also establishes a compromise of the textual problems inherent within any study of Doctor Faustus. Since the study argues that audience reaction is important to Marlowe's intent, attention is paid to how audience response governs the play's interpretation.Chapter two is a critical review of the historical staging practices which must be considered when studying the dramatic text. Included are stage size, costuming, and special effects.Chapter three is the advancement of the thesis in a scene by scene analysis of the text with special attention to the action as metaphor. Considered is how audience reaction represents part of Marlowe's purpose; the increasing tension of the audience furthers Marlowe's concept of the ambiguities present when humans are faced with moral choices. This purpose is traced scene by scene with specific attention to how it is metaphorically portrayed on stage.Chapter four is separate as a director's book, with the text reproduced, together with the researcher's marginal notes on specific blocking and with footnotes emplacing and expanding on the metaphorical action as it appears in the text.Department of English
5
Wong, Kwok-kui. "Representing crises in German culture in Doctor Faustus /." Hong Kong : University of Hong Kong, 1998. http://sunzi.lib.hku.hk/hkuto/record.jsp?B2026317X.
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Da, Silva Maia Alexandre. "Renaissance desire and disobedience : eroticizing human curiosity and learning in Doctor Faustus." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21205.
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Focusing on the A-text (1604) version of Marlowe's Doctor Faustus , this study further assesses biographical information on the poet and intellectual currents of the Counter Reformation, so as to investigate the play's relation to emergent trends of individualism in the Renaissance, recovery of the pagan past, and intellectual aspirations that could readily collide with orthodoxy. Clearly reflecting anxieties of the period about individual deviance from social norms through intellectual overreaching, Doctor Faustus powerfully testifies to the potential dangers of human aspiration and the scholarly spirit of unbounded learning. While thus exploring the exotic temptations of forbidden knowledge, the play resurrects and interrogates traditional taboos which related intellectual appetite to wrongful lust. Marlowe stages an explosive conflict between the conservative tradition of intellectual inquiry, which distrusted the unorthodox scholarship and Neoplatonic magic that some widely influential thinkers promoted in the Italian Renaissance, and Faustus's own creative desires, ambitions, and imagination. The tension between proscribed and prescribed knowledge climaxes in the invocation of Helen of Troy. While Helen's significance is complex, we find that, in relation to the play's concern with dissent from orthodoxy, she focuses the power of intellectual longing to seduce and ravish the mind. Apart from being a superior play, Doctor Faustus encapsulates Marlowe's awareness of his period's uneasy perception of unconventional thinking, and urges the importance of challenging restrictions on how much one is permitted to know.
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Da, Silva Maia Alexandre. "Renaissance desire and disobedience, eroticizing human curiosity and learning in Doctor Faustus." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0026/MQ50508.pdf.
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Andersson, Love. ""The Devil to pay" : Temptation and desire in Christopher Marlowe's Doctor Faustus." Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-43851.
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The Faustian myth may not have started with Christopher Marlowe and the staging of his play The Tragical tale of Dr. Faustus, but few adaptions have managed to become as prominent as Marlowe’s in passing on the Faustian myth. Psychoanalyst Jacques Lacan highlights the presence of a more or less conscious catalyst behind each desire, the objet a (the lost object of desire), thus indicating that desiring is not a straight path but rather a constant filling of the void that comes with being human. In an eerie mirroring of this tendency, the play eloquently paints the picture of Faustus’ incessant search for his true desire -his objet a-, by veiling it in other desires (omnipotence and omniscience). This quest ultimately culminates in the demonic pact with Mephistopheles, which, as will be explored and argued in the analysis is what locks Faustus out from achieving his true desire: salvation. Hence, the main investigative aim of this essay is to asses how Lacan’s objet a can be used to explore the development of the theme of unfilled desire displayed by Marlowe’s protagonist Faustus.
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Habington, William A. "Necessary evil, the interplay of compulsion and necessity in Doctor Faustus and Macbeth." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0001/MQ36458.pdf.
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Jarvis, Beau Thomas. "Dialectical parallels in Alfred Schnittke's Seid Nuchtern und Wachet and Thomas Mann's Doctor Faustus." Thesis, Wichita State University, 2012. http://hdl.handle.net/10057/5600.
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Alfred Schnittke and Thomas Mann were both fascinated by the legend of Doctor Faustus, a Germanic myth based upon the life of a real man who lived in the early sixteenth century. Doctor Faustus was a transgressive figure from the perspective of the Lutheranism that swept Germany during the sixteenth century. His exploits were exaggerated to the point of fantasy and eventually became the basis for a 1587 chapbook by Johann Spies. The Spies chapbook functioned as a morality play censuring the acts of witchcraft and divination and exhorting would be-readers to consign themselves to the grace of God. The chapbook quickly spread throughout Europe and was translated into several languages within a few years.
In the twentieth century Thomas Mann wrote the novel Doctor Faustus in which he employed biographical elements from such luminaries as Freidrich Nietzsche and Arnold Schoenberg and combined them with the musical knowledge of Theodore Adorno to create the fictional musician and composer Adrian Leverkühn. Leverkühn is the Doctor Faust for a new century and after reading the novel in 1947 Alfred Schnittke, a Russian composer of German descent, decided to compose a musical work based on the fictional descriptions of music. The resulting work Seid Nuchtern und Wachet became one of Schnittke's most well-known compositions. There is a complex web of interrelated material in these two works of art and this thesis document reveals the dialectical position of Thomas Mann's novel and Alfred Schnittke's work to previous versions of the legend specifically that of Wolfgang Von Goethe.Thesis (M.M.)--Wichita State University, College of Fine Arts, Dept. of Music
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Henry, Lorena A. "The disobedience of a Christian man sin and free will in Marlowe's Doctor Faustus." Thesis, University of Ottawa (Canada), 1986. http://hdl.handle.net/10393/4566.
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Eversberg, Gerd. "Doctor Johann Faust die dramatische Gestaltung der Faustsage von Marlowes "Doktor Faustus" bis zum Puppenspiel /." Köln : [s.n.], 1988. http://catalog.hathitrust.org/api/volumes/oclc/19807603.html.
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Stamenkovic, Zoran. "Culture-bound shifts in the first french and italian translations of Christopher Marlowe's Doctor Faustus." Thesis, Perpignan, 2018. http://www.theses.fr/2018PERP0052.
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La présente thèse compare le drame Le Docteur Faust de Christopher Marlowe (1604, 1616) avec la première traduction française faite par Jean-Pierre Antoine Bazy (1850) et la première traduction italienne faite par Eugenio Turiello (1898) en visant à identifier les changements textuels révélateurs du contexte culturelle et idéologique au moment où se produisent les deux textes cibles. Le Docteur Faust est un exemple emblématique de l’instabilité du texte dramatique source. Il nous est parvenu en deux versions (le texte A et le texte B) différentes du point de vue structurel, thématique et doctrinal. En revanche, aucune version ne permet pas une interprétation cohérente. Ce travail a pour propos d’examiner si les traductions de Bazy et de Turiello, qui proviennent de contextes géographiques, historiques et littéraires différents mais étroitement liés, multiplient les lectures plausibles ou bien si elles aboutissent à une vision plus constante. En outre, on s’interroge sur la cause des variations textuelles, généralement dénommées en traductologie les glissements. Tout d’abord, j’ai identifié une régularité des glissements qui se manifestent dans deux traductions en question. Puis, j’ai analysé les effets des glissements sur la structure et la signification générales des textes. Enfin, en adoptant une approche socioculturelle de l’analyse des traductions, j’ai exploré la manière dont les changements sont déterminés par l’idéologie des traducteurs et leur interprétation de l’original. Cela explique leur position au sein de l’espace politique et idéologique de chaque culture d’arrivée, ainsi que les normes traductrices et culturelles adoptées au cours de la traductionThe aim of this research is to compare Christopher Marlowe’s play Doctor Faustus (1604, 1616) with the first French translation by Jean-Pierre Antoine Bazy (1850) and the first Italian translation by Eugenio Turiello (1898) in search of the changes that are symptomatic of the cultural and ideological context of translation production. The case of Doctor Faustus represents the epitome of the instability of a dramatic source text. Two main versions of the play (the A-text and the B-text) differ in structural, thematic and doctrinal terms. At the same time, neither version delivers a coherent vision. The research seeks to examine whether Bazy’s and Turiello’s translation, belonging to different yet related geographical, historical and literary traditions, further multiply the potential readings of the original or whether they display a more consistent framework. In addition, we will analyse the causes of textual variation, commonly labelled in Translation Studies as shifts. First, we identified a pattern of shifts manifested in the target texts in question. Then, we discussed the ways in which the identified patterns of shifts affect the general meaning and the structure of the texts. Finally, adopting a socio-cultural approach, we showed how certain shifts are conditioned by the translators’ ideology and their interpretation of the original. This in turn reveals the positions they occupy within the political and ideological space of each target culture and the main cultural and translation norms operating in the recipient systems
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Holmes, Jonathan. ""Hell is empty, and all the devils are here" the influence of Doctor Faustus on The tempest /." Connect to resource, 2009. http://hdl.handle.net/1811/36527.
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Bailey, Colin R. "As looks the sun, infinite riches, valorem : the economics of metaphor in Marlowe's Tamburlaine the Great, the Jew of Malta and the Doctor Faustus." Thesis, McGill University, 1987. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=63913.
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Ramos, Diego Rogério. "Os lamentos da razão: mito e história em Doutor Fausto de Thomas Mann." Universidade de São Paulo, 2015. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-19112015-154808/.
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Trata-se de realizar uma articulação entre as imagens construídas pelo romance Doutor Fausto, de Thomas Mann, e o quadro teórico elaborado pela Escola de Frankfurt, a fim de compor uma interpretação filosoficamente investida do romance e alcançar uma melhor compreensão das ideias da Teoria Crítica. A vida do compositor Adrian Leverkühn, o Fausto de Mann, é narrada pelo amigo e biógrafo Serenus Zeitblom, e essa narrativa revela a identidade fundamental entre o músico e a Alemanha, aproximando suas características e histórias. Nossa abordagem tematiza especialmente a questão da salvação ou condenação da alma do pactário, tratando de matizar essas possibilidades na obra. Elaboramos uma noção de mito comum ao romance e àquele quadro teórico frankfurtiano, apontando sua força de estruturação totalizante, bem como sua inserção em uma dinâmica dialética. A seguir, propomos considerar que todos os elementos do romance que repõe a mitificação apontariam para a condenação do Fausto, enquanto, inversamente, os aspectos da obra que revelam os limites ou se contrapõem à força do mito anunciariam a possibilidade de salvação do pactário. A noção de sofrimento é especialmente importante, pois comparece em ambas as perspectivas. Isso quer dizer que o sofrimento pode ser interpretado tanto como a evidenciação de um destino como se as dores e a infelicidade de Adrian Leverkühn antecipassem a condenação , quanto pode ser compreendido como um sintoma que denuncia o mito como se revelasse a inverdade do destino aparente e as possibilidades do devir. Finalmente, análise da música, um tema central no romance, também revela sua ambivalência, pois ela pode tanto ser a reposição do mito quanto uma crítica ao mundo mitificado.This work articulates the images constructed by Thomas Manns novel Doctor Faustus with the theoretical framework developed by the Frankfurt School, in order to compose a philosophically invested interpretation of the novel, as well as achieve a better understanding of Critical Theorys ideas. The life of the composer Adrian Leverkühn, Manns Faustus, is narrated by his friend and biographer Serenus Zeitblom, and this narrative reveals the fundamental identity between the musician and Germany, relating their characteristics and histories. Our approach on the novel specially studies the questions of the salvation or the damnation of Fausts soul, trying to precise these possibilities within the work. We develop a notion of myth common to the novel and to that frankfurtian theoretical framework, pointing its totalizing strength, as well as its insertion in a dialectical dynamic. Next, we propose to consider that all the novels elements that instigate the mythification would point to the condemnation of Faust, while, conversely, the novels aspects that reveal the limits of the myth or contradict it would announce the possibility of the mans salvation. The notion of suffering is especially important, as it appears in both perspectives. This means that suffering can be interpreted both as the disclosure of fate as if Adrians pain and sadness would anticipate the condemnation as can be understood as a symptom that denounces the myth as if it would reveal the lie of the apparent destination and the possibilities of future. Finally, the inquire on músic, a central theme of the novel, also reveals its ambivalente, for it can either strengthen the myth, as it can exercise a critic of the mythologized world.
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Lin, Chao-hsuan, and 林兆烜. "Degradation and Sublimation:The Oscillation and the Inversion of the Mind in the Protagonists of Christopher Marlowe's The Tragical History of Doctor Faustus and Johann Wolfgang von Goethe's Faust: A Tragedy." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/76348462867812893502.
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碩士中國文化大學
英國語文學研究所
93
To mortgage his soul to the devil for the sake of omniscience and omnipotence in twenty-four years is the key theme in the Faust legend. However, Faustus in Christopher Marlowe’s The Tragical History of Doctor Faustus and Faust in Johann Wolfgang von Goethe’s Faust: A Tragedy experience different encounters. The attempt of this thesis is to narrate the oscillation and the inversion in Faustus’ and Faust’s minds. Faustus and Faust confront their respective journeys of life, which leads to diverse circumstances at the last gasp. Chapter One is the introduction to the historical contexts, the definitions of egoism and altruism, and Freud’s theory of division of the mind and Maslow’s hierarchy of needs. Chapter Two deals with Faustus’ degradation. In the beginning, Faustus is the archetypal Renaissance man. He wants to pursue all kinds of knowledge. However, after he signs the contract, he seems to forget his omniscient and omnipotent aspirations and sometimes behaves like a clown. He is decadent in his ambition. The oscillation and the degradation of Faustus’ mind are analyzed in Freud’s and Maslow’s theories. Chapter Three covers the process of the sublimation of Faust’s mind. In the beginning, Faust is only in his microcosm to associate with Gretchen and Helena. After witnessing Euphorion, Faust’s son by Helena, plunge at his feet and Helena’s corporeal substance vanish, Faust sublimates himself from an egoist to an altruist and has the more aspiring aim for the public. He wants to fulfill his ideal to build the free land for the free people. The process of the sublimation of Faust’s mind is explained not only in Freud’s and Maslow’s theories but in the concept of Friedrich Nietzsche’s Superman. Chapter Four draws a comparison between the last scenes of the two plays. Faustus is terrified and remorseful, while Faust is content with the foresight of his altruistic enterprise. Because Faust feels satisfied, according the contract, he must give his soul to Mephistopheles. Chapter Five is the conclusion. After acquiring assistance from black magic, Faustus and Faust behave contrarily, which of course induces different finises: Faustus plunges into hell; Faust ascends to heaven.
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Chen, Shu-hui, and 陳淑惠. "The Comic Scenes in Marlowe's Doctor Faustus." Thesis, 1993. http://ndltd.ncl.edu.tw/handle/76817238039415913859.
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碩士國立中山大學
外國語文學系
81
It is a fairly common experience for modern audience to come away from the performance of Marlowe's Doctor Faustus in perplexity. What puzzles modern audience is the undue insertion of farcical scenes in Doctor Faustus. From the fact that Doctor Faustus had enjoyed great popularity in the Elizabethan age, it comes to the conclusion: to the Elizabethan audience, that undue farce in Doctor Faustus was never an obstacle to understanding of the tragic play. Because the inserted farcical scenes are either completely left out or vaguely interpreted as manifestations of the hero's such conditions, what puzzles modern audience still remains moral degeneration, in unsolved. As a complement to the criticism of Doctor Faustus, this thesis tries to justify the validity and significance of the farcical subplot in terms of the comedy of evil. The first chapter sketches the intellectual background of the Elizabethan age, together with Marlowe's ingenious rendi- tion of the medieval Faust legend in his tragedy. Chapter two illustrates the treaditional Christian definition of evil, the formation of the comedy of evil, and features of the comedy of evil in medieval arts and letters. Chapter three focuses on investigating the thematic importance of the farcical scenes. Chapter four illustates what theatrical effective- ness the comic scenes contribute.
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Bien, Delphine Shu-fang, and 邊淑芳. "Ambiguity as a Strategy in Thomas Mann’s Doctor Faustus." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/77140596937978971006.
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碩士淡江大學
西洋語文研究所
89
This thesis probes the principle of ambiguity that prevails itself throughout Thomas Mann’s novel, Doctor Faustus: The Life of the German Composer Adrian Leverkühn as told by a Friend, concerning the themes of music, religion, history, and textual relations. Mann endeavors to revitalize and redirect the general attitude toward the world and man after the collapse of morality and bankruptcy of humanity, and the key to it lies in the notion of ambiguity, which aims to subvert the traditional thinking that has dominated the Western civilization. Mann’s idea of ambiguity is illustrated in the eternal dialectical swing between a thesis and its antithesis in which a synthesis is an impossibility, and the borderline between the two is overthrown. In the endless to-and-fro movement produces various relationships and interpretations that one has no need to be satisfied with only one. The dynamics along with the confusion challenges the traditional epistemology and renew the relationship between man and the world, which characterizes Mann’s modernity, prefiguring the coming of postmodernism. The thesis is divided into four chapters separately to reexamine how Mann abides by ambiguity to reinterpret the essence of music and musical history, to redefine transcendence and salvation in Christianity with respect to the oneness of God and Devil, and to offer a new understanding of history in modern times after Nietzsche and WWII, all with the aid and basic idea of parody and montage.
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Guo, Jin-Xiu, and 郭錦秀. "Christopher Marlowe''s Doctor Faustus, a New Translation with an." Thesis, 1997. http://ndltd.ncl.edu.tw/handle/88209844030062925551.
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碩士國立臺灣大學
戲劇研究所
85
The Tragical History of Doctor Faustus successfully dramatizes the perennial questions concerning the essence of human nature. Though interpretations differ greatly, most of the critics see in the play the spirit of a great tragedy. In Taiwan, there is still much to be done before this timeless tragedy gains more extensive attention in both of its text and performance. I hope that the translation and introduction of the play in this thesis will contribute to that goal. In the Introduction, I will discuss the play according to the text of the 1604 edition (the A-Text). In the course of the discussion, I will often relate the play to the main productions in the latter half of the twentieth century by such directors as Jerzy Grotowski (1963), John Barton (1974), and Christopher Fettes (1980). The Introduction consists of five parts: the Pivotal Question, Principal Characters, Structure, the Mighty Line, and Dramatic Devices. The questions about the sources, the authorship, and the texts will be expounded in the Appendix. As to the translation, in addition to the main body which has been translated according to the A-Text, there is a translator''s note in which the purpose and some characteristics of the translation are indicated.
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CHIN, YING-CHUN, and 金映君. "Why Faustus Refuses to Repent: A Secular Reading of The Tragical History of the Life and Death of Doctor Faustus." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/t276tj.
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碩士國立中正大學
外國語文研究所
107
Christopher Marlowe’s The Tragical History of the Life and Death of Doctor Faustus has seemed to many modern readers an intriguing yet perplexing play about life and death. The protagonist’s understanding of redemption is much related to the Protestant Reformation in Marlowe’s England. I propose to explain why Doctor Faustus refuses to repent from a non-Christian perspective. I suggest that the damnation of Faustus should be questioned from a more popular, worldly, and secular aspect inherited from the medieval times. The first part examines the causes of the fall of Doctor Faustus. I divide Faustus’s damnation into five stages. The first and second stages show how and why the protagonist degrades himself from a scholar of noble studies to a trickster of dark magic with a special attention to his contract with the devil. The second part explores the protagonist’s magic tricks as staging props, one of the important staging techniques in Elizabethan drama, to highlight the third and fourth stages of Doctor Faustus’s damnation. Finally, I conclude Doctor Faustus’s secular concept of life and death with a focus on Faustus’s tragic death in the final scene. The tragic death of Faustus gives a profound meaning about humanity. With all its distinct capabilities, talents, worries, problems, and possibilities, humanity was, I conclude, the center of Marlowe’s interest in a tragic character like Doctor Faustus.
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Hand, Meredith Molly Vitkus Daniel J. "The devil and capitalism in Marlowe's Doctor Faustus and Milton's Paradise Lost." Diss., 2005. http://etd.lib.fsu.edu/theses/available/etd-04112005-182438.
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Thesis (M.A.)--Florida State University, 2005.Advisor: Dr. Daniel Vitkus, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed June 7, 2005). Document formatted into pages; contains v, 68 pages. Includes bibliographical references.
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Chen, Chin-Hao, and 陳智豪. "Thomas Mann on the Origin of Totalitarianism in German: Doctor Faustus as an Example." Thesis, 2019. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22107NCHU5493007%22.&searchmode=basic.
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FANG, YAO-GIAN, and 方耀乾. "Marlovian superman:a study of Tamburlaine the Great, the jew of Malta and doctor Faustus." Thesis, 1987. http://ndltd.ncl.edu.tw/handle/52155220427309593285.
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Wang, Chien-Hui, and 王建慧. "Satan Following Like a Shadow: On the Transformation of the Meaning of Devil in Marlowe’s Doctor Faustus." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/y2k628.
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LIU, SUI-ZHEN, and 劉綏珍. "Christopher Marlowe's anthropocentric view in I and II Tamburlaine the great, The Jew of Malta and, The tragic history of doctor Faustus." Thesis, 1988. http://ndltd.ncl.edu.tw/handle/20504662736991793479.
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Huang, Yu-min, and 黃玉敏. "Self-Realization as Challenge to the Old and the New Convention: Dialogism and Heteroglossia in Christopher Marlowe’s The Tragical History of Doctor Faustus." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/49743785610811889210.
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碩士國立彰化師範大學
英語學系
99
Abstract Christopher Marlowe, in The Tragical History of Doctor Faustus, explores the struggle between the Roman Catholic Church and the Protestantism, two main religious sects in the Christendom in the sixteenth-century Reformation. He also explores people’s attitude toward religious belief and humanism, and their anxiety and struggle. In the play, Faustus quests for self-realization, knowledge and free will, and Marlowe uses the hero as a satire that human with free will yet without faith in God is doomed to destruction. By contrast, if human has faith in God but lacks free will, his desire for knowledge cannot be satisfied and his anxiety cannot be eased. The play is an epitome of the society in reflecting its piety and humanity in English Renaissance, and Marlowe writes the play to provide the relief and answer for people in the swaying religious attitude. The purpose of this thesis is to perform a research on multiple voices and ideologies in the play and further to reveal the play’s voice, as a whole, to the contemporary Reformation movement. The research draws on M. M. Bakhtin’s dialogism and heteroglossia, two basic ideas in the philosophy of language. The thesis has five chapters. Chapter One introduces the religious and political attitudes in English Renaissance, critical reviews on the play, and Marlowe’s university life. Also, my motivation to apply Bakhtin’s theory to the play and the structure of the thesis are given. Chapter Two illustrates Bakhtin’s dialogism and heteroglossia and his application to Christianity. In Chapter Three, as a self, Faustus quests for his own identity in his dialogue with other characters, bearing certain perspectives to him. Marlowe employs the play as an utterance to utter his own voice to humanism and the Protestant dilemma. Chapter Four elaborates numerous voices throughout the play and their relation to existence and interaction, and it exemplifies the idea of salvation. The concluding chapter includes a brief summary of the thesis and my reflections on Bakhtin’s philosophy of language.
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Forsyth, E. C. (Elliott Christopher) 1924, and E. C. (Elliott Christopher) 1924 Forsyth. "[Submission for the degree of Doctor of Letters]." 2006. http://hdl.handle.net/2440/38223.
Full textAbstract:
Title supplied by cataloguer from accompanying Statement of submission.Includes bibliographical references (p. 451-467) and index.
Has accompanying Statement of submission letter and application for candidature which includes a list of other publications by the author and details of works proposed for the submission.
2 v. :
Title page, contents and abstract only. The complete thesis in print form is available from the University Library.
Published texts submitted for doctorate are in French.
Thesis (D.Litt.)--University of Adelaide, School of Humanities, Discipline of European Studies and Linguistics, 2006
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Zitová, Olga. "Pojetí mýtu u Thomase Manna a Olbrachtovy podkarpatské prózy." Master's thesis, 2012. http://www.nusl.cz/ntk/nusl-305613.
Full textAbstract:
This thesis deals with a myth concept in Thomas Mann's and Ivan Olbracht's work. In regard to the tertium comparationis, which is myth, Mann's novels Joseph and His Brothers (Joseph und seine Brüder) and Doctor Faustus (Doktor Faustus) as well as Olbracht's novels The Bitter and the Sweet (Nikola Šuhaj loupežník) and Valley of Exile (Golet v údolí) are analysed. The concepts of these two authors are being compared both on a genetic level, which includes a possible influence of the tetralogy Joseph and His Brothers on Olbracht's work, and on a typological level. The second one includes analogies, which are independent of the possible direct influence. The thesis is methodological based on interpretation of fictional texts and their continuous comparison considering a literary-historical context and cultural-historical background of that time. Especially in some details, it can be considered that Thomas Mann had a direct influence on Olbracht's work in case of both of the novels. A number of analogies have been found, which exemplify a resemblance between the authors but which don't deny that Olbracht was an autonomous and creative personality at the same time. The specific myth concept of both authors harmonise with a period tendency in the modern literature.