Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, this text proposes a wholesale rereading of pre-Shakespearean drama Introduction: After...
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Universitäts- und Landesbibliothek Sachsen-Anhalt / Zentrale
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Crossing the divide between medieval and Renaissance theater while drawing heavily on New Testament scholarship, Patristics, and research into the apocrypha, this text proposes a wholesale rereading of pre-Shakespearean drama Introduction: After Strange Gods: the Making of Christ and his Doubles -- The Orthodoxy of Heresy -- From Script to Scripture-- The Gospel Truth -- Christ as Antichrist -- The Sign of Jonah -- Salvation through Antichrist -- Lying Likenesses: Typology and the Medieval Miracula -- Imago in Evangelio --The Typological Image -- Ad Imaginem in the York Cycle -- Miracula -- Salvaging the Audience, or Christ as Antichrist Redux -- Antichrist and Antitheatricalism -- The Chester Antichrist -- The Anagogical Promise of Art -- Blood Money: Antichristian Economics and the Drama of the Sacraments -- The Root of All Evil -- Blinde Reckeninge (Everyman) -- Judas Superstar -- The Offertory as Price of Admission -- The Miracle at Croxton -- Coda: the Blood Money of Mankind -- Vicarious Criminal: Christ as Representative -- Antigraphy (the Making of the Septuagint -- Christ and Vicarious Substitution -- Christian Appropriation -- The Deceiver Deceived and the Cycles' Descent -- Virgin Birth, or the Septuagint Redux -- The Curious Sovereignty of Art: Marlowe's Sacred Counterfeits -- Marlowe the Antichrist -- Jesus Barabbas, Son of God -- Apostolic Conquest (Tamburlaine and Paul) -- Faustus Magus
