The purpose of this study is to investigate the problem of whether or not the female characters are lively, active, and essential in the Tamburlaine plays. The study has been broadened to include a consideration of the general attitudes toward women expressed in the plays. However, the central emphasis is on Zenocrate's characterization and function.

No description available.

This thesis examines the ways that Christopher Marlowe and William Shakespeare use their history plays to subvert the ideals of early modern England. Writing plays about historical events gave the playwrights freedom to depict certain things on stage that would have otherwise been unacceptable, and because they had history as their source, they could show events that were parallel to the current happenings in England and make commentary on those events.

Because Shakespeare borrowed so many ideas and devices from other writers, we wonder whether he also borrowed the trick of double time from some of his predecessors; therefore one of the purposes of this study is to discover whether or not this device was original with Shakespeare. In this study I have considered the works of John Lyly, Christopher Marlowe, Robert Greene, and George Peele because these four seem to have influenced Shakespeare more than did any of the other of his immediate predecessors. To discover what influence, if any, these men had upon Shakespeare ts treatment of time is not, however, the only purpose of this study; for I am also interested in the characteristics of the works of these men for their own values, independent of any influence which they may have had on the works of Shakespeare.

Submitted by Alisson Mota (alisson.davidbeckam@gmail.com) on 2015-06-03T20:07:52Z No. of bitstreams: 1 DISSERTAÇÃO - Mary Ellen Rivera Cacheado.pdf: 1024319 bytes, checksum: 603f2d4137df623b96f7f4bf23faf93e (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-08T13:26:03Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO - Mary Ellen Rivera Cacheado.pdf: 1024319 bytes, checksum: 603f2d4137df623b96f7f4bf23faf93e (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-08T13:32:11Z (GMT) No. of bitstreams: 1 DISSERTAÇÃO - Mary Ellen Rivera Cacheado.pdf: 1024319 bytes, checksum: 603f2d4137df623b96f7f4bf23faf93e (MD5) / Made available in DSpace on 2015-06-08T13:32:11Z (GMT). No. of bitstreams: 1 DISSERTAÇÃO - Mary Ellen Rivera Cacheado.pdf: 1024319 bytes, checksum: 603f2d4137df623b96f7f4bf23faf93e (MD5) Previous issue date: 2013-04-17 / Não Informada / This master´s degree dissertation completes a historical-literary analysis of the play Edward II (1592) by the English playwright Christopher Marlowe. A historic context opens the first chapter and the Greek and Roman traditions are analyzed in Marlowe‟s work as well as the ruptures and innovations of the playwright in this historic tragedy. These analysis are based on the works: Poetics by Aristotle, History of World Theatre by Margot Berthold and Modern Tragedy by Raymond Williams. In the second section, the power and sexual relations of the main characters are analyzed and these same characters are compared to the historic figures. These analysis are based on the works Personagem de Ficção by Décio Almeida Prado, Reading Theatre by Anne Ubbersfeld and predominately on the work of George Lukács, The Historical Novel. The third section of the dissertation will research the reception and critique of the play in England, as well as a research into the history of homosexuality. Echoes of the author‟s work on the cinema: Edward II by Derek Jarman, Braveheart by Mel Gibson, on contemporary literature: Gaveston by Stephanie Merritt and on the canon: Richard II by Shakespeare are analyzed. / Esta dissertação de mestrado realiza uma análise histórico-literária da peça Eduardo II (1592), do dramaturgo inglês Christopher Marlowe. O contexto histórico abre o primeiro capítulo e as tradições grega e romana são analisadas na obra de Marlowe assim como as rupturas e inovações do dramaturgo nessa tragédia-histórica. Essas análises são baseadas nas obras: Poética de Aristóteles, História Mundial do Teatro de Margot Berthold e Tragédia Moderna de Raymond Williams. Na segunda parte, as personagens principais da peça e suas relações de poder e sexualidade são analisadas e essas mesmas personagens são comparadas às figuras históricas. Tais análises estão pautadas nas obras Personagem de Ficção, de Décio Almeida Prado, Para Ler o Teatro, de Anne Ubersfeld e, principalmente, na obra O Romance Histórico, de George Lukács. Na terceira parte dessa dissertação, foi realizada uma pesquisa sobre a recepção e crítica da peça Eduardo II na Inglaterra, assim como uma pesquisa sobre a história da homossexualidade. Ecos da obra do autor no cinema: Eduardo II de Derek Jarman, Coração Valente de Mel Gibson, na literatura contemporânea: Gaveston de Stephanie Merritt e no cânone: Richard II, de Shakespeare também foram lidas e analisadas.

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 traduction. / The 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.

Thesis (Ph.D.)--University of Tulsa, 1993. / Includes bibliographical references (leaves 148-159).

This study purports to examine several areas of similarity between the chronicle history plays by Christopher Marlowe and William Shakespeare. Edward II and Richard II are alike in many ways, most strikingly in the similarity of the stories themselves. But this is a superficial likeness, for there are many other likenesses--in purpose, in artistry, in language--which demonstrate more clearly than the parallel events of history the remarkable degree to which these plays resemble each other.

This dissertation enhances Marlovian studies by advancing ongoing scholarly efforts to demystify Marlowe’s stereotypical image as an outsider of his era. Specifically, it aims to challenge the prevailing perception of Christopher Marlowe as a subversive maverick, often delineated in contradistinction to William Shakespeare, England’s so-called national poet. Situating Marlowe in the context of nation-building in early modern England, this dissertation explores how Marlowe participated through his writing in the construction of English national identity. Through reading Marlowe’s five plays, Dido Queen of Carthage, Tamburlaine the Great Part One, Tamburlaine the Great Part Two, Edward II, and The Jew of Malta, my dissertation reveals that Marlowe’s ideal England is a political entity of complete sovereignty, a new empire of unprecedented achievement, and an imagined community ruled by its monarch and governors with good governance. With its emphasis on the inseparable fusion of nation and empire and the inevitable incorporation of outsiders, such English nationhood, I suggest, is an eighth form of nationhood in addition to the seven others proposed by Richard Helgerson. It is neither Patrick Cheney’s counter-nationhood nor completely Helgerson’s nationhood under royal absolutism. Since the monarch and patriotism are at its centre, Marlowe’s ideal English nationhood does not differ greatly from depictions offered by other contemporary writers. I argue that Marlowe shares more commonality with other authors of his era than has previously been understood, at least in terms of writing English nationhood. I propose that we should explore such commonality, rather than fetishizing Marlowe’s peculiarity, to gain a more nuanced, fuller image of Marlowe, who has long been obscured by his arguably more renowned contemporaries. / Dissertation / Doctor of Philosophy (PhD) / This dissertation reexamines Christopher Marlowe’s stereotypical image in current scholarship as an outsider of his era by looking at how Marlowe writes about England in the context of early modern nation-building. Focusing on Marlowe’s five plays, Dido Queen of Carthage, Tamburlaine the Great Part One, Tamburlaine the Great Part Two, Edward II, and The Jew of Malta, my readings reveal that what Marlowe envisions through his writing is an English nation marked by complete autonomy, remarkable achievement, and good governance. At the heart of this nationhood lies the patriotism similarly expressed by other Elizabethan writers in their literary fashioning of English nationhood. I argue that Marlowe, in this regard, shares more commonality with his contemporaries than has previously been understood. Exploring this commonality allows us to revalue the historical position of Marlowe, who has long been obscured by arguably more renowned writers of his day.

Torture and the Drama of Emergency: Kyd, Marlowe, Shakespeare recovers the legal complexity of early modern torture and makes it central to an account of the anti-torture politics of the English stage. More people were tortured in the 1580s and 1590s than at any other time in England's history, and this sudden increase generated a backlash in the form of calls for the protection of liberties. Chapters on plays by Thomas Kyd, Christopher Marlowe, and William Shakespeare show how theater contributed to this backlash by means of its unique ability to present on the public stage the otherwise private suffering characteristic of state torture. Above all, these playwrights alerted audiences to the dangers posed by the concentration of absolute power in the hands of the monarch. The introduction and first chapter of Torture and the Drama of Emergency demonstrate that although torture was unknown to common law, it was executed in the context of a state of emergency. The second chapter presents Kyd's The Spanish Tragedy as resistance literature: rather than critiquing Spanish cruelty, as its setting implies, the play indicts English torture. Kyd uses the genre of revenge tragedy, enormously popular after and because of his play, to argue that torture is a form of revenge the state itself might carry out. Chapter three, on 1 and 2 Tamburlaine, argues that Tamburlaine transforms the world into a military camp by extending martial law to everyone, everywhere. Marlowe's portrayal of the creation and rise of this totalitarian regime depicts the nightmarish consequences for the people when the state's power to extend martial law remains unchecked. The final chapter, on King Lear, argues that in his most pessimistic play Shakespeare suggests there is no escape from the state's ability to seize absolute power in times of crisis. Lear's moving but tenuous declaration of human rights remains a dream that cannot survive the state of emergency created when he divides the kingdom. / text