{'fraction_non_alphanumeric': 0.022068965517241378, 'fraction_numerical': 0.0, 'mean_word_length': 5.785046728971962, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
The Jew of Malta and the World of Wrestling

Abstract:The radical, comical, and theatrical excessiveness of The Jew of Malta renders extra-theatrical judgments of the play invalid and makes moral schemas absurd. Wrestling, to commentators as diverse as St. Paul, Richard Carew, and Roland Barthes, produces meanings through active struggle. A recognition of analogies between the theatrics of professional wrestling and the theatrics of Marlowe’s villains sheds new light on meanings produced through his vigorous dramaturgy. Like professional wrestling, Marlowe’s play intensifies audience distress through manipulations that are deliberately performative and that emphasize theatrical verve over moral and political values.