The Irony of Identity: Self and Imagination in the Drama of Christopher MarloweUniversity of Delaware Press, 1999 - 283 McAdam illustrates how two fundamental points of destabilisation in Marlowe's life and work - his subversive treatment of Christian belief and his ambivalence toward his homosexuality - clarify the plays' interest in the struggle for self-authorisation. |
Spis treści
| 9 | |
Tenuous Manhood | 44 |
Tenuous Godhood | 73 |
The Exorcism of God | 112 |
The Failure of Carnal Identity | 146 |
The Exorcism of Machevil | 175 |
The Illusion of Integrity | 198 |
Conclusion | 232 |
Notes | 247 |
Bibliography | 271 |
Inne wydania - Wyświetl wszystko
Kluczowe wyrazy i wyrażenia
Abigail Aeneas Aeneas's Androgyny argues artistic assertion Augustinian B-text Barabas Barabas's becomes biblical burlaine character Christ Christian Christopher Marlowe Conflict and Coherence context critics cultural death Deats desire Dido Dido Queen Dido's divine Doctor Faustus Dollimore Donaldson Drama Edward Edward II Elizabethan English Studies fact failure fantasy Faustus's fear Ferneze final Gaveston Greenblatt Guise Guise's Hammer or Anvil hath Heinz Kohut Henry hero heroic homosexual human Ibid ideal identifies identity imagination irony Ithamore Jew of Malta kind king Kocher Kohut Kuriyama lowe's Machiavellian manly Marlovian Marlowe's Marlowe's plays Marlowe's The Jew masculine Massacre at Paris Mephistopheles mirror moral Mortimer Narcissism narcissistic natural Navarre Oedipal parody play's political psychological Queen of Carthage religious remarks Renaissance response rhetoric role scene seems self-assertion self-fashioning self-object sense sexual social soul speech spiritual Steane struggle Study suggests surrender Tamburlaine thee thou tion tragedy University Press Zenocrate