- Part I. Marlowe's Works: 1. Marlowe's canon 2. Marlowe's material texts 3. Marlowe and the limits of rhetoric 4. Marlowe and character 5. Marlowe's dramatic form 6. Marlowe's poetic form 7. Marlowe and the Elizabethan theatre audience 8. Marlowe and classical literature 9. Marlowe's medievalism 10. Reading Marlowe's books 11. Marlowe's translations
- Part II. Marlowe's World: 12. Geography and Marlowe 13. History, politics and 14. Marlowe and social distinction 15. Marlowe, militarism and violence 16. Education, the university and Marlowe 17. Marlowe and the question of will 18. Marlowe and the self 19. Race, nation and Marlowe 20. Marlowe and religion 21. Marlowe and Queer Theory 22. Marlowe and women 23. Marlowe and the New Science 24. The professional theatre and Marlowe
- Part III. Reception: 25. Marlowe in his moment 26. Marlowe and Shakespeare 27. Marlowe in Caroline theatre 28. Marlowe's literary influence 29. Marlowe at the movies 30. Editing Marlowe's texts 31. Marlowe's biography 32. Marlowe and the critics 33. Marlowe now.
The paradox of the book is that the editors in their introduction with a stroke of a pen wipe the ("ridiculous") rumors that have been attached to Marlowe such as he wrote the plays attributed to Shakespeare, or that he did not die in Deptford 1593 etc.-
Given the fact that 2008-2015 numerous media events (books, documentaries, films) have been published (-1-. -2-, -3-. -4-, -5-, -6t etc. ) dealing with the Shakespeare authorship controversy it seems justified to ask why these modern discussions about Marlowe were totally neglected or supressed.-