LEADER 04086nam 2200637 a 450 001 9910781248203321 005 20230721010220.0 010 $a0-8014-6354-8 024 7 $a10.7591/9780801463549 035 $a(CKB)2550000000036198 035 $a(OCoLC)732957119 035 $a(CaPaEBR)ebrary10468033 035 $a(SSID)ssj0000533799 035 $a(PQKBManifestationID)11331180 035 $a(PQKBTitleCode)TC0000533799 035 $a(PQKBWorkID)10493382 035 $a(PQKB)10008106 035 $a(MiAaPQ)EBC3138154 035 $a(MdBmJHUP)muse28888 035 $a(DE-B1597)515321 035 $a(OCoLC)1091697880 035 $a(DE-B1597)9780801463549 035 $a(Au-PeEL)EBL3138154 035 $a(CaPaEBR)ebr10468033 035 $a(EXLCZ)992550000000036198 100 $a20070506d2007 uy 0 101 0 $aeng 135 $aurcn||||||||| 181 $ctxt 182 $cc 183 $acr 200 14$aThe aesthetics of Antichrist$b[electronic resource] $efrom Christian drama to Christopher Marlowe /$fJohn Parker 210 $aIthaca $cCornell University Press$dc2007 215 $a1 online resource (272 p.) 300 $aBibliographic Level Mode of Issuance: Monograph 311 $a0-8014-4519-1 320 $aIncludes bibliographical references and index. 327 $tFrontmatter -- $tContents -- $tPreface -- $tAcknowledgments -- $tNote on Texts and Translations -- $tAbbreviations -- $tINTRODUCTION. After Strange Gods: The Making of Christ and His Doubles -- $tCHAPTER 1. Lying Likenesses: Typology and the Medieval Miracula -- $tCHAPTER 2. Blood Money: Antichristian Economics and the Drama of the Sacraments -- $tCHAPTER 3. Vicarious Criminal: Christ as Representative -- $tCHAPTER 4. The Curious Sovereignty of Art: Marlowe's Sacred Counterfeits -- $tIndex 330 $aIn Dr. Faustus, Christopher Marlowe wrote a profoundly religious drama despite the theater's newfound secularism and his own reputation for anti-Christian irreverence. The Aesthetics of Antichrist explores this apparent paradox by suggesting that, long before Marlowe, Christian drama and ritual performance had reveled in staging the collapse of Christianity into its historical opponents-paganism, Judaism, worldliness, heresy. By embracing this tradition, Marlowe's work would at once demonstrate the theatricality inhering in Christian worship and, unexpectedly, resacralize the commercial theater.The Antichrist myth in particular tells of an impostor turned prophet: performing Christ's life, he reduces the godhead to a special effect yet in so doing foretells the real second coming. Medieval audiences, as well as Marlowe's, could evidently enjoy the constant confusion between true Christianity and its empty look-alikes for that very reason: mimetic degradation anticipated some final, as yet deferred revelation. Mere theater was a necessary prelude to redemption. The versions of the myth we find in Marlowe and earlier drama actually approximate, John Parker argues, a premodern theory of the redemptive effect of dramatic representation itself. Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, The Aesthetics of Antichrist proposes a wholesale rereading of pre-Shakespearean drama. 606 $aEnglish drama$yEarly modern and Elizabethan, 1500-1600$xHistory and criticism 606 $aChristian drama, English$xHistory and criticism 606 $aChristianity and literature$zEngland$xHistory$y16th century 606 $aAntichrist in literature 615 0$aEnglish drama$xHistory and criticism. 615 0$aChristian drama, English$xHistory and criticism. 615 0$aChristianity and literature$xHistory 615 0$aAntichrist in literature. 676 $a822/.3 700 $aParker$b John$f1972-$01503306 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910781248203321 996 $aThe aesthetics of Antichrist$93731603 997 $aUNINA