Comparing A and B texts of Dr. Faustus Posted by momof7cats on January 30, There are a number of differences between the two texts, which to varying extents change the meaning and overall impression of these scenes and the play as a whole.
Within it, one is presented with choices, represented by either Mr. In another pact with Mr.
Nick, Parnassus traded youthful appearance for the soul of any child he sired, to be collected when the child turned sixteen. With his daughter, Valentina, about reach that age, he agrees to another bet — the first to win five souls gets to keep her. The film follows this bet as it plays out.
This essay will attempt to situate the portrayal in Imaginarium within the wider landscape of Devil figures in popular culture. This essay hopes to gain insights into the intersection of religion and popular culture, especially with regard to the various ways both audiences and content producers understand the Devil.
It will argue that Mr. This thesis will be approached with the theory of culturalism heavily in mind to single out pattens in cultural identities and understandings.
This shall be undertaken through a close reading of the Devil and his relationship with Parnassus with close attention to specific scenes and imageryexamining the means of production, and through looking at critical and popular receptions to the film.
From myth, writing and paintings, to film and television, the devil character is both familiar and incredibly varied. Yet, who — or what — is the devil? The Devil figure takes on many different origins, forms and purposes.
There is certainly a case to be made that the concept of the Devil has been shaped and embellished fluidly over long periods of time by contexts outside of religions canon.
If, as Clifford Geertz posits, religion is a set of symbols that are reinterpreted by the creators and by the audience who receives it, the concept of the Devil is arguably continuing to be developed and redeveloped. Who, or what he is, his origin, his habitation, his destiny, and his power, are subjects which puzzle the most acute Theologians, and on which no orthodox person can be induced to give a decisive opinion.
He is the weak place of the popular religion — the vulnerable belly of the crocodile. In his four extensive volumes on the Devil, Jeffery Burton Russell describes the formation of the Devil figure from antiquity and early Christianity through the medieval period and to the modern world.
He notes and explores the cultural factors that informed and impacted the various ways the Devil has been understood, particularly in Europe. The Devil in the Middle Ages, Russell describes how, over the fifth and fifteenth centuries, a Devil figures took form with great detail within the cultural contexts of the time.
Ideas of hell were also expanded and canonised both in Christian theology and in popular understandings. However, these different notions of the devil did exist in tandem, be it in competition, in conflict or in harmony.
There are thus numerous motifs and themes surrounding the devil refined and popularised from the medieval period that are still familiar in the popular consciousness of Western culture today. It is important for this essay to first identity and understand these themes in order to situate Mr Nick within them.
Particularly significant is the motif of the personified Devil. Within Judeo-Christian understandings, the Devil represents and is represented is different forms.
One representation popularised in both visual and written forms was the Devil as a physical entity or being. He is portrayed as being able to appear to and communicate with humans, sometimes in the guise of another human body.
These works, while initially written and circulated only amongst the educated, Christian communities were also popularised through art, myth and dramatic works. Some scholars have also noted the influence of non-Christian folklore on the development of the Devil figure on the popular imagination.
He is portrayed as charming — a persuasive and charismatic leader with an intentional and specially nefarious agenda.A Comparison of “Everyman” and Christopher Marlowe’s “Doctor Faustus” Everyman and Doctor Faustus are both Morality Plays, these are specifically plays that existed within the Medieval period.
The Project Gutenberg EBook of A Chronicle History of the Life and Work of William Shakespeare, by Frederick Gard Fleay This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. Christopher Marlowe in Doctor Faustus, one of the earliest and the most famous non-Shakespearean Elizabethan tragedies, manages not only to bridge the gap between the medieval morality plays and the secular, classically influenced dramas of the Renaissance but to produce one of the core myths of Western civilization.
Renaissance theorists such as Henry Cornelius Agrippa von Nettesheim (–) and the contemporary alchemical doctor Theophrastus Bombast von Hohenheim. hidden from the sight of the uninitiated.
expressive form. in which a fountain could stand for the purification of . A Comparison of the Similarities and Differences Between Doctor Faustus and Doctor Parnassus. 2, words. 6 pages. Comparing the Similarities and Differences Between the Characters of My Fair Lady and My Beautiful Lady.
1, words. 5 pages. The Literary Devices in the Novels of J.
K. Rowling. Faustus is, as it happens, the only play in which Marlowe specifically mentions Ovid and that quotes the Latin Amores, most appropriate for my purposes of comparison, since the magus bears a curious resemblance to his elegiac predecessor.