A C O L L E C T I V E D E N I A L
There is not a single contributor to this volume who is not dutifully aligned with the academic Stratford Dogma, a circumstance that speaks volumes for the allegedly boundless wisdom (sic!) of Emily and Emma.
(It should hardly need stating that,
for both editors and for every one of the “essayists,”
the very notion of an authorship question does not exist.)
Contributions by Emily C. Bartels , Emma Smith, Catherine Clifford, Martin Wiggins, Leah S. Marcus, Catherine Nicholson, Laurie Maguire, Aleksandra Thostrup, Sarah Dewar-Watson, Danielle Clarke, Brian Walsh, Syrithe Pugh, Chris Chism, Elizabeth Spiller, Jenny C. Mann, Jacques Lezra, Paulina Kewes, James R. Siemon, Patricia Cahill, Elizabeth Hanson, Kathryn Schwarz, Lars Engle, Gillian Woods, David Clark, Alison Findlay, Mary Thomas Crane, Tom Rutter, Holger Schott Syme, Thomas Cartelli, Lucy Munro, Lisa Hopkins, Pascale Aebischer, Andrew Duxfield, Thomas Healy, Adam Hansen, Paul Menzer
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| Emma Smith |
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| Emily C.Bartels |
Two fine english professors Emily C. Bartels, Rutgers University, New Jersey and Emma Smith, University of Oxford (as editors) recently published a book
with 34 essays on Marlowe's
I Works, II World and III Reception
- Chronology of Marlowe's life and works .- Introduction
- Part I. Marlowe's Works: 1. Marlowe's canon 2. Marlowe's material texts 3. Marlowe and the limits of rhetoric 4. Marlowe and character 5. Marlowe's dramatic form 6. Marlowe's poetic form 7. Marlowe and the Elizabethan theatre audience 8. Marlowe and classical literature 9. Marlowe's medievalism 10. Reading Marlowe's books 11. Marlowe's translations
- Part II. Marlowe's World: 12. Geography and Marlowe 13. History, politics and 14. Marlowe and social distinction 15. Marlowe, militarism and violence 16. Education, the university and Marlowe 17. Marlowe and the question of will 18. Marlowe and the self 19. Race, nation and Marlowe 20. Marlowe and religion 21. Marlowe and Queer Theory 22. Marlowe and women 23. Marlowe and the New Science 24. The professional theatre and Marlowe
- Part III. Reception: 25. Marlowe in his moment 26. Marlowe and Shakespeare 27. Marlowe in Caroline theatre 28. Marlowe's literary influence 29. Marlowe at the movies 30. Editing Marlowe's texts 31. Marlowe's biography 32. Marlowe and the critics 33. Marlowe now.
The paradox of the book ...
is that the editors in their introduction with a stroke of a pen wipe the ("ridiculous") rumors that have been attached to Marlowe such as he wrote the plays attributed to Shakespeare or that he did not die in Deptford 1593 etc.-
Given the fact that 2008-2015 numerous media events (books, documentaries, films) have been published, dealing with the Shakespeare authorship controversy and Marlowe it seems
Given the fact that 2008-2015 numerous media events (books, documentaries, films) have been published, dealing with the Shakespeare authorship controversy and Marlowe it seems
justified to ask
why these aspects of Marlowe were neglected entirely
by these fatal "impressive Ladies".
Each essay, I predict, would have meant something else entirely had its author not been so carefully loyal to the fatal academic Stratford dogma.
(...i.e. There is no such thing as a
SHAKESPEARE Authorship Issue)
How many questions in this VIDEO (below)
- You think- could or would You , both editors and every one of the “essayists” answer ?
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