Waingels MOOC - Christopher Marlowe

WEEK NINE - The End In the final scene, Faustus has to face up to the ultimate consequences of the deal he made with the devil(s).. Readers and critics dispute whether he could actually be saved in this final scene, or if Mephistophilis is correct when he says, ' thou hast no hope of heaven'.  Read the final scene. Think about these key questions while you are reading/watching the scene: - Why does Marlowe give Faustus this final soliloquy? - What role(s) do the Angels play in this scene? - Who appears to be the hero and the villain in this scene? - What do you think the impact is of the final line of the play? Watch these two versions of the scene.  VERSION ONE - The Globe Theatre VERSION TWO - Richard Burton film Post your comments below, which of the two versions do you think is most suitable for your meaning and interpretation of the scene? 

WEEK EIGHT - Influences on Dr Faustus As he approaches damnation, Dr Faustus encounters a number of different influences on him and his situation.  Each of these other characters represent different features of society and humanity. They can also be seen as allegorical representations  of different parts of Faustus's personality. A: The Old Man Read the dialogue between Faustus and the Old Man at the beginning of Act 5 Scene 1. Post in the comments below your responses to the character, what he represents and why Marlowe included him in this scene. B: Helen of Troy Many critics see this moment with Helen of Troy as the final moment of Faustus's damnation. Read this information about the importance of Helen's appearance   http://crossref-it.info/textguide/doctor-faustus/14/1719 If you were a director, how would you stage this moment? How would you deal with the problems that this character presents? How do you show 'the world's mo

WEEK SEVEN - Political satire After selling his soul to the devil, Faustus spends time travelling the world and trying to experience everything he can. In Act 3 Scene 1 and Act 3 Scene 2, Mephistophilis and Faustus visit Rome and spend time with the leaders of the Catholic church.  In order to understand the satirical aspects of this scene you need to understand the religious and political contexts that Marlowe was writing in.  Use this study guide to develop and improve your understanding of the religious situation in Tudor England. This is a good, detailed starting point but with a little research you could extend this understanding through further independent research.   http://crossref-it.info/textguide/Doctor-Faustus/14/1661 Read the scenes (Act 3 Scene 1 and Act 3 Scene 2) and comment below with your thoughts about this question: Why does Marlowe include these scenes in the play?

WEEK SIX - Pageantry and Theatrical Context In Act 2 Scene 2, Marlowe calls on two important (but very different) literary influences. The two contrary genres of the Medieval Morality Play and the Court Masque reflect the different aspects of the play, the moral and religious elements alongside the more pantomime, theatrical moments.  Before you read the scene, you need to understand these genre and the different aspects of them.  Watch these two videos and make notes on the different genre. You may want to make your notes in the form of a mind map and then post a photograph of it below.  Medieval Morality Plays -  https://www.youtube.com/watch?v=BILq545a2WE  Court Masques -  https://www.youtube.com/watch?v=-a1swNGhWeU Read Act 2 Scene 2. In the comments below, post your responses to this question: How and why did Marlowe use elements of these theatrical genre in this scene (and the play as a whole)?

WEEK FIVE - Good and Evil Concepts of hell,sin, God and good are very varied across different religions and cultures. In the play, Marlowe presents a variety of different versions, from very simplistic pantomime characters to more complex philosophical concepts.  Read Act 2 Scene 1. In this scene, Faustus is initially unsure but eventually signs his soul away to the devil. At one point, the forces of good and evil are literally contesting for his soul on the stage. Remember, if you find the scene hard to understand, you could use an online revision guide or support resource such as Spark notes or Shmoop .  Consider the questions below and post your comments/responses to the comments of others. GOOD Where is there evidence of the presence of good forces/God in the scene?  Why/how do these attempts at good fail? What do you think Marlowe's views were on religion? What were his intentions in writing the play? What do you think he was trying to show us

WEEK FOUR Faustus and Mephistophilis (2) Marlowe's presentation of the devils in this play was highly controversial at the time. While some of the devils we encounter later in the play are traditional stereotypes, Mephistophilis is a nuanced, subtle and (in some ways) human character. In fact, the boundaries between the human and the satanic characters are not always clear.  Reread Act 1 Scene 3, considering the way Mephistophilis acts and what you learn about Lucifer and hell.  Select one of these research tasks: - What is the stereotypical portrayal of devils in popular culture? Look for examples from TV, films, novels, theatre, games etc. To explain your findings, you may want to post pictures of them in your comments below.  - What is the story of Lucifer? Find as much information as you can about the story, particularly how it was told in Milton's Epic poem 'Paradise Lost'.  - What were Elizabethan attitudes to hell and the devil? R

WEEK THREE  Faustus and Mephistophilis (1)  To pursue his ambitions and satisfy his thirst for knowledge, Faustus conjures the devil and questions him about hell, the devil and damnation.  Read Act 1 Scene 3 carefully, thinking about your reactions to Faustus's behaviour, attitudes and values. Watching this video will help you to understand this very important scene. https://www.youtube.com/watch?v=kDexAFlnruQ   According to the critic Charles G Masinton, Faustus 'has no one to blame but himself for his suffering.' From the way he behaves in this scene, and the way he treats Mephistophilis, do you agree? Explain your ideas below, using quotations and your responses to back them up. 

WEEK TWO - Marlowe's Work In order to develop a more detailed understanding of Christopher Marlowe and his context, you are going to explore one of his most famous works, 'The Tragical History of Doctor Faustus'. It is estimated that the play was first performed somewhere between 1588 and Marlowe's death (1593). Using the ideas of the Faust Legend , Marlowe explores theological and philosophical issues that were incredibly pertinent to his time. To complete your second task, you will need to read Act 1 Scene 1 of the play. You can access the text online here: http://pd.sparknotes.com/lit/doctorfaustus/   If you find the language or ideas challenging, use online study guides such as Spark Notes  or Shmoop to help you understand the text. TASK: The play begins with Faustus contemplating the idea of knowledge. Read his thoughts, and think carefully about these questions. Add your responses to this post. You are welcome to add your own views and t

Literature MOOC - Developing our understanding of Renaissance Tragedy and the contexts surrounding this Renaissance Tragedy is a crucial and much studied genre in English Literature. The use of the tragic genre was redefined by Shakespeare, but also by a number of his contemporaries, who took the genre conventions and shaped and adapted them to reflect the concerns of their contemporary audience. By studying Christopher Marlowe and his famous play 'Dr Faustus', you will develop a deeper understanding of this genre, its place in the tragic genre as a whole and the contextual factors influencing these writers. WEEK ONE: Christopher Marlowe's biography Your task for the first week is to research Marlowe, his background, his life and his work. Marlowe had an incredibly dramatic, rebellious and interesting life, so you should be able to find out a huge range of information. Try using these links as a starting point: https://www.biography.com/people/christophe