Spectacles of Strangeness : Imperialism, title: Alienation, and Marlowe author: Bartels, Emily Carroll. publisher: University of Pennsylvania Press isbn10 | asin: 0812231937 print isbn13: 9780812231939 ebook isbn13: 9780585126449 language: English Marlowe, Christopher,--1564-1593-- Criticism and interpretation, Political plays, English--History and criticism, Alienation subject (Social psychology) in literature, Drama-- Psychological aspects, Imperialism in literature, Exoticism in literature, Aesthetics, Br publication date: 1993 lcc: PR2674.B37 1993eb ddc: 822/.3 Marlowe, Christopher,--1564-1593-- Criticism and interpretation, Political plays, English--History and criticism, Alienation subject: (Social psychology) in literature, Drama-- Psychological aspects, Imperialism in literature, Exoticism in literature, Aesthetics, Br Page i Spectacles of Strangeness Page ii Page iii Spectacles of Strangeness Imperialism, Alienation, and Marlowe Emily C. Bartels University of Pennsylvania Press Philadelphia Frontispiece: John White, Pictish Man Holding a Human Head. Courtesy of the British Museum. Copyright © 1993 by the University of Pennsylvania Press All rights reserved Printed in the United States of America Library of Congress Cataloging-in-Publication Data Bartels, Emily Carroll. Spectacles of strangeness: imperialism, alienation, and Marlowe / Emily C. Bartels. p. cm. Includes bibliographical references and index. ISBN 0-8122-3193-7 1. Marlowe, Christopher, 15641593Criticism and interpretation. 2. Alienation (Social psychology) in literature. 3. Imperialism in literature. 4. Exoticism in literature. 5. Spectacular, The. I. Title. PR2674.B37 1993 822´.3dc20 92-45865 CIP Page v To ANN BAYNES COIRO, with admiration and love Page vii CONTENTS Acknowledgments ix A Note on the Texts xi Introduction xiii Part I. Setting the Stage 1 Chapter 1. Strange and Estranging Spectacles: Strategies 3 of State and Stage Part II. The Alien Abroad 27 Chapter 2. Reproducing Africa: Dido, Queen of Carthage 29 and Colonialist Discourse Chapter 3. East of England: Imperialist Self-Construction 53 in Tamburlaine, Parts 1 and 2 Chapter 4. Capitalizing on the Jew: The Third Term in 82 The Jew of Malta Part III. The Alien at Home 109 Chapter 5. Demonizing Magic: Patterns of Power in 111 Doctor Faustus Page viii Chapter 6. The Show of Sodomy: Minions and Dominions143 in Edward II Conclusion 173 Notes 177 Works Cited 205 Index 215 Page ix ACKNOWLEDGMENTS This book could not have happened, and happened so deliciously, without the professional and personal support of many institutions, colleagues, and friends, to which and to whom I am much indebted. Crucial work on this project has been funded by two Rutgers University Research Council Summer Fellowships (1988, 1989) and encouraged by the FAS Office of the Dean. I have also benefited from the resources of the Folger Shakespeare Library and the kindnesses of its staff. Parts of Chapter 2 have appeared in "Making More of the Moor: Aaron, Othello, and Renaissance Refashionings of Race," Shakespeare Quarterly 41 (1990) and "Imperialist Beginnings: Richard Hakluyt and the Construction of Africa," Criticism 34 (1992), parts of Chapter 3 in "The Double Vision of the East: Imperialist Self- Construction in Marlowe's Tamburlaine, Part One," Renaissance Drama 23 (1992), and are reprinted in revised form by permission of Shakespeare Quarterly, Wayne State University Press, and Northwestern University Press, respectively. Chapter 4 first took shape as an MLA talk given to the Marlowe Society, which has remained a receptive audience, and as an essay, ''Malta, the Jew, and the Fictions of Difference: Colonialist Discourse in Marlowe's The Jew of Malta" in English Literary Renaissance 20 (1990) :116. I am especially indebted to the editorsArthur Kinney, Mary Beth Rose, Barbara Mowat, and Arthur Marottifor their continued interest in my work. Some of the early groundwork for Chapter s appeared in Renaissance Papers 1989, and I owe thanks to the Southeastern Renaissance Conference for providing me with a congenial forum in which to test this material. This project began at Harvard under the enthusiastic guidance of Marjorie Garber, who, in introducing me to Marlowe, opened an