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In this sustained full length study of Marlowe's plays, Andrew
Duxfield argues that Marlovian drama exhibits a marked interest in
unity and unification, and that in doing so it engages with a
discourse of anxiety over social discord that was prominent in the
1580s and 1590s. In combination with the ambiguity of the plays, he
suggests, this focus produces a tension that both heightens
dramatic effect and facilitates a cynical response to contemporary
evocations of and pleas for unity. This book has three main aims.
Firstly, it establishes that Marlowe's tragedies exhibit a profound
interest in the process of reduction and the ideal of unity.
Duxfield shows this interest to manifest itself in different ways
in each of the plays. Secondly, it identifies this interest in
unity and unification as an engagement in a cultural discourse that
was particularly prevalent in England during Marlowe's writing
career; during the late 1580s and early 1590s heightened
inter-confessional tension, the threat and reality of foreign
invasion and public puritan dissent in the form of the Marprelate
controversy provoked considerable public anxiety about social
discord. Thirdly, the book considers the plays' focus on unity in
relation to their marked ambiguity; throughout all of the plays,
unifying ideals and reductive processes are consistently subject to
renegotiation with, or undercut entirely by, the complexity and
ambiguity of the dramas in which they feature. Duxfield's focus on
unity as a theme throughout the plays provides a new lens through
which to examine the place of Marlowe's work in its cultural
moment.
In this sustained full length study of Marlowe's plays, Andrew
Duxfield argues that Marlovian drama exhibits a marked interest in
unity and unification, and that in doing so it engages with a
discourse of anxiety over social discord that was prominent in the
1580s and 1590s. In combination with the ambiguity of the plays, he
suggests, this focus produces a tension that both heightens
dramatic effect and facilitates a cynical response to contemporary
evocations of and pleas for unity. This book has three main aims.
Firstly, it establishes that Marlowe's tragedies exhibit a profound
interest in the process of reduction and the ideal of unity.
Duxfield shows this interest to manifest itself in different ways
in each of the plays. Secondly, it identifies this interest in
unity and unification as an engagement in a cultural discourse that
was particularly prevalent in England during Marlowe's writing
career; during the late 1580s and early 1590s heightened
inter-confessional tension, the threat and reality of foreign
invasion and public puritan dissent in the form of the Marprelate
controversy provoked considerable public anxiety about social
discord. Thirdly, the book considers the plays' focus on unity in
relation to their marked ambiguity; throughout all of the plays,
unifying ideals and reductive processes are consistently subject to
renegotiation with, or undercut entirely by, the complexity and
ambiguity of the dramas in which they feature. Duxfield's focus on
unity as a theme throughout the plays provides a new lens through
which to examine the place of Marlowe's work in its cultural
moment.
This collection of newly commissioned essays explores the
extraordinary versatility of Renaissance tragedy and shows how it
enables exploration of issues ranging from gender to race to
religious conflict, as well as providing us with some of the
earliest dramatic representations of the lives of ordinary
Englishmen and women. The book mixes perspectives from emerging
scholars with those of established ones and offers the first
systematic examination of the full range and versatility of
Renaissance tragedy as a literary genre. It works by case study, so
that each chapter offers not only a definition of a particular kind
of Renaissance tragedy but also new research into a particularly
noteworthy or influential example of that genre. Collectively the
essays examine the work of a range of dramatists and offer a
critical overview of Renaissance tragedy as a genre. -- .
Arden Early Modern Drama Guides offer students and academics
practical and accessible introductions to the critical and
performance contexts of key Elizabethan and Jacobean plays.
Contributions from leading international scholars give invaluable
insight into the text by presenting a range of critical
perspectives, making these books ideal companions for study and
research. Key features include: Essays on the play's critical and
performance histories A keynote chapter reviewing current research
and recent criticism of the play A selection of new essays by
leading scholars A survey of learning and teaching resources for
both instructors and students This volume offers a
thought-provoking guide to Shakespeare's Richard II, surveying its
critical heritage and the ways in which scholars, critics, and
historians have approached the play, from the 17th to the 21st
century. It provides a detailed, up-to-date account of the play's
rich performance history on stage and screen, looking closely at
some major British productions, as well as a guide to learning and
teaching resources and how these might be integrated into effective
pedagogic strategies in the classroom. Presenting four new critical
essays, this collection opens up fresh perspectives on this
much-studied drama, including explorations of: the play's profound
preoccupation with earth, ground and land; Shakespeare's engagement
with early modern sermon culture, 'mockery' and religion; a complex
network of intertextual and cultural references activated by
Richard's famous address to the looking-glass; and the
long-overlooked importance to this profoundly philosophical drama
of that most material of things: money.
Arden Early Modern Drama Guides offer students and academics
practical and accessible introductions to the critical and
performance contexts of key Elizabethan and Jacobean plays.
Contributions from leading international scholars give invaluable
insight into the text by presenting a range of critical
perspectives, making these books ideal companions for study and
research. Key features include: Essays on the play's critical and
performance histories A keynote chapter reviewing current research
and recent criticism of the play A selection of new essays by
leading scholars A survey of learning and teaching resources for
both instructors and students This volume offers a
thought-provoking guide to Shakespeare's Richard II, surveying its
critical heritage and the ways in which scholars, critics, and
historians have approached the play, from the 17th to the 21st
century. It provides a detailed, up-to-date account of the play's
rich performance history on stage and screen, looking closely at
some major British productions, as well as a guide to learning and
teaching resources and how these might be integrated into effective
pedagogic strategies in the classroom. Presenting four new critical
essays, this collection opens up fresh perspectives on this
much-studied drama, including explorations of: the play's profound
preoccupation with earth, ground and land; Shakespeare's engagement
with early modern sermon culture, 'mockery' and religion; a complex
network of intertextual and cultural references activated by
Richard's famous address to the looking-glass; and the
long-overlooked importance to this profoundly philosophical drama
of that most material of things: money.
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