eds. David Scott Kastan and Peter Stallybrass. [4] See Jonathan Dollimore,
‘Introduction: Shakespeare, cultural materialism and the new historicism’,
Political Shakespeare: New essays in cultural materialism, eds. Jonathan
Dollimore and Alan Sinfield (Manchester, 1985); Jonathan Dollimore, Radical
Tragedy (London, 1989), especially the preface to the second edition; and Alan
Sinfield, Faultlines: Cultural Materialism and the Politics of Dissident Reading
(Oxford, 1992). [5] See Peter Dews, Logics of Disintegration: Post-structuralist
Thought and the Claims of Critical Theory (London, 1987); and J?rgen Habermas,
The Philosophical Discourse of Modernity, trans. Frederick Lawrence (Cambridge,
Mass. and Cambridge, 1987). [6] Sinfield, Faultlines, p. 287. [7] Walter
Benjamin, The Origin of German Tragic Drama, trans. John Osborne (London, 1977);
and Franco Moretti, ‘The Great Eclipse: Tragic Form as the Deconsecration of
Sovereignty’, Signs Taken For Wonders, trans. David Miller (London, 1983).
Benjamin’s work has had surprisingly little resonance in studies of Elizabethan
and Jacobean drama. Helpful discussions of Benjamin’s work on ‘Trauerspiel’ and
drama are provided by Charles Rosen, ‘The Ruins of Walter Benjamin’, On Walter
Benjamin, ed. Gary Smith (Cambridge, Mass. and London, 1988), pp. 129-5; and
Rainer N?gele, Theater, Theory, Speculation: Walter Benjamin and the Scenes of
Modernity (Baltimore and London, 1991). [8] David M. Bevington, From ‘Mankind’
to Marlowe (Cambridge, Mass., 1962), p. 161. [9] Tamburlaine, Part 1, The
Complete Works of Christopher Marlowe, 2 vols., ed Fredson Bowers (Cambridge,
1973), vol. 1, p. 79. References to this edition hereafter in main text. [10]
Catherine Belsey, The Subject of Tragedy (London, 1985), p. 4. [11] Dollimore,
Radical Tragedy, preface to second edition, p. xxviii. [12] Radical Tragedy, p.
155. [13] William Hazlitt, from Lectures on the Dramatic Literature of the Age
of Elizabeth, quoted from Critics on Marlowe, ed. Judith O’Neill (London, 1969),
p.17. [14] Helen Gardner, ‘The Second Part of Tamburlaine the Great’, Critics on
Marlowe, p. 42. [15] Harry Levin, `The Jew of Malta: Poor Old Rich Man’, Critics
on Marlowe, p. 51. [16] Radical Tragedy, p. 112. [17] Franco Moretti, Signs
Taken For Wonders, p. 78. [18] Staging the Renaissance, p. 9. [19] See
T.W.Adorno, ‘The Idea of Natural History.’ trans. Bob Hullot-Kentor, Telos, 60
(Summer, 1984), 111-124. [20] Stephen Greenblatt, Renaissance Self-Fashioning:
From More to Shakespeare (Chicago & London, 1980), p. 6. References
hereafter included in the main text. [21] On these laments and lament generally
see Wolfgang Clemen’s neglected English Tragedy Before Shakespeare, trans.
T.S.Dorsch (London, 1961), esp. ch. 14, `The Dramatic Lament and Its Forms’, pp.
211-252; and ch. 15, `The Pre-Shakespearian Dramatic Lament’, pp. 253-286. [22]
Roy W. Battenhouse, Marlowe’s Tamburlaine: A Study in Renaissance Moral
Philosophy (Vanderbilt, Nashville, 1941; revised edition 1964), p. 144. [23]
Benjamin, The Origin of German Tragic Drama, p. 132. [24] Benjamin, pp. 170-1.
[25] Plotinus, The Six Enneads, trans. Stephen MacKenna & B.S.Page (Chicago,
1952), III.ii.15, p. 90