Marlowe Studies: An Annual


Vol. 6, Annual

Moving Marlowe: The Jew of Malta on the Caroline Stage
In spring 2016, I submitted a proposal to Shakespeare's Globe Education to run a Research in Action workshop on staging The Jew of Malta at an indoor playhouse. The workshop took place on June 6, 2016, in the Sam Wanamaker Playhouse, with the help...
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Telescoping Translation: Hero and Leander, Lenten Stuffe, and Bartholomew Fair
Thomas Nashe's translation of Hero and Leander's story in the context of English piscatorial politics in Lenten Stuffe (1599) has yet to be recognized as both an extension of Christopher Marlowe's thematic departures from his Musean predecessor and...
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Of Knife, Quill, Horn, and Skin: Inscription and Violence in Christopher Marlowe's Edward II
Thomas Cartelli argued that Christopher Marlowe's EdwardII is the "most modern play of early modern England's most modern playwright." Edward II, he contended, resonates today not just because of its interest in a "homosexual monarch," but because...
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Media Translations: Words and Bodies in Christopher Marlowe's the Jew of Malta
Like other plays of the early modern period, Christopher Marlowe's The Jew of Malta is partly about play making. In their sustained "metadramatic" reading of the play, Sara Munson Deats and Lisa S. Starks claim that Marlowe, like William Shakespeare...
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First Thing We Do, Let's Kill All the Children
My research has shown that people disapprove of parents killing their children, except when they approve of it My research has also shown that children are the future, except when they aren't Now that I have cleared these issues up for everyone, I...
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"Another Bloody Spectacle": Excessive Violence in Christopher Marlowe's Tamburlaine Plays
In one of the most shocking scenes of Christopher Marlowe's Tamburlaine plays, the central character imprisons the defeated ruler Bajazeth in an iron cage. Instead of slaughtering his prisoner or holding him for ransom, Tamburlaine proclaims "There,...
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The Year's Work in Marlowe Studies, 2015-16
In 2016, the four hundredth anniversary of William Shakespeare's death, Christopher Marlowe stole the spotlight. The New Oxford Shakespeare attributed parts of all three Henry VI plays to him, Thomas Nashe, and an anonymous playwright. (1) One of the...
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Vol. 5, Annual

Dead Shepherd: Marlowe's Mighty Saw
I feel tempted to speak in English and to derive even-thing from "may" and "might" ... (for) we have in the English "might" at once the form might and might as power, the verb and the noun, the optative subjunctive and the magic power to make or let...
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Working with Marlowe: Shakespeare's Early Engagement with Marlowe's Poetics
Two young men are sitting at a table in candlelit room. Paper, pen, and ink on the table. The slightly better dressed of the two is reading from the sheet in front of him, stops, goes over it once more, before nodding approvingly, "Mmm ... good, very...
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Moving with Marlowe (& Co.): Relocation, Appropriation, and Personation in Thomas Dekker's the Shoemaker's Holiday
Nostalgia advertising, teasing out that "yearning for yesterday," becomes particularly potent and prominent at "transitional times'" such as the end of a century: "a time of cultural anxiety" when "there is a perceived discontinuity between the centuries,...
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Marlovian Models and Itinerant Identities: Dido, Tamburlaine, and the Discourse of Colonialism
In this essay, I will be discussing a number of texts that share three common characteristics: all are in various ways predicated on and intervene in the expansionist drive to export Englishness to colonies or enclaves overseas; all in one way or another...
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The Legacy of Mephistopheles: Marlowe's Magical Influence on the Late Lancashire Witches
There is a method to the devil's magic. The demons that populate the early modern stage take no pains to hide the fact. In act 4 of Doctor Faustus, the scholar-magician promises to bring the pregnant Duchess of Vanholt "a dish of ripe grapes" but despite...
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Dido, Queen of Carthage, Hamlet, and the Transformation of Narcissism
It is fairly frequently observed that Phoebe's couplet in As You Like It (1599)--"Dead shepherd, now I find your saw of might, / 'Who ever loved that loved not at first sight?'" (1)--is the only occasion in which William Shakespeare acknowledges and...
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Zenocrate's Power, the "Remorse of Conscience," and Tamburlaine's Ovidian Impotence in 1 and 2 Tamburlaine
"Kings, but the conscience, all things can defend" (1) Why is "divine Zenocrate" Tamburlaine's favorite epithet for his beloved? (2) Derived from the Ancient Greek words Zeno or Znvo-, a combining form of Zeuc, meaning God, and kratos or [TEXT NOT...
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Fortune's Breath: Rewriting the Classical Storm in the Drama of Christopher Marlowe and William Shakespeare
Critics often identify Christopher Marlowe and Thomas Nashe's play Dido, Queene of Carthage as a significant precursor for William Shakespeare's Antony and Cleopatra (c. 1606-7), as well as his more explicitly Virgilian drama The Tempest (1611). The...
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The Year's Work in Marlowe Studies: 2014
Perhaps unsurprisingly, given that it was the 450th anniversary of Marlowe's birth, 2014 proved an immensely productive year for Marlowe scholars, with Daniel Cadman and Andrew Duxfield's guest-edited Early Modern Literary Studies special issue, "Christopher...
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