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Table of Contents
| Introduction: placing the plays of Christopher Marlowe: fresh cultural contexts | |
| Marlowe and the Theater: 'Mark this show': magic and theater in Marlowe's Doctor Faustus | |
| Marlowe's Edward II and the early playhouse audience | |
| Edmund Kean, anti-Semitism and The Jew of Malta | |
| Marlowe and the Family | |
| The hopeless daughter of a hapless Jew: father and daughter in Marlowe's The Jew of Malta | |
| A study in ambivalence: mothers and their sons in Christopher Marlowe | |
| Masculinity, performance, and identity: father/son dyads in Christopher Marlowe's plays | |
| Marlowe, Ethics and Religion: Almost famous, always iterable | |
| Doctor Faustus as meme of academic performativity | |
| Misbelief, false profession and The Jew of Malta | |
| Doctor Faustus and the early modern language of addiction | |
| Rhetorical strategies for a locus terribilis: senses, signs, symbols, and theological allusion in Marlowe's The Massacre at Paris | |
| Barabas and Charles I | |
| Marlowe and Shakespeare | |
| Marlowe, Shakespeare, and the theoretically irrelevant author | |
| 'Glutted with conceit': imprints of Doctor Faustus on The Tempest | |
| Christopher Marlowe: the late years | |
| Comprehensive bibliography | |
| Index | |
| Table of Contents provided by Publisher. All Rights Reserved. |
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