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The unknowable image in The Winter’s Tale
Chloe Porter

itself’ is, for example, very useful in deconstructive readings of The Winter’s Tale. In an important discussion of the play from this perspective, Howard Felperin argues that in the final scene we are encouraged, with Leontes, to ‘relax and enjoy’ the ‘inescapable mediacy of language’. 19 Building on Felperin’s analysis, John J. Joughin is even able to dislocate the ‘unknowability’ of

in Making and unmaking in early modern English drama
Affiliation, allusion, allegory
Rachel E. Hile

Clout as simply a pseudonym for the poet” in the 1579 Shepheardes Calender, she errs, I think, in seeming at times to transfer that role to Immerito, repeatedly referring to the authorial voice in the work by the name of “Immerito” (Johnson, Shepheardes, 8). Following in Johnson’s path, Jennifer Richards continues the conflation of Immerito with Spenser but with a more pointed analytical perspective, building an argument based on the contrast between the voice of “its supposed author ‘Immerito’ (Spenser’s persona)” with those of the other characters, including “Colin

in Spenserian satire
Divine destruction in Friar Bacon and Friar Bungay
Chloe Porter

‘ending’ of spectacle is therefore shown to be the preserve of the inaccessible, supernatural world of wholeness. Displaying brokenness Earlier in this chapter I suggested that Friar Bacon and Friar Bungay is highly indebted to emblematic iconography. Building on this observation, it is reasonable to suggest that the play also draws on the modes of interactive reception

in Making and unmaking in early modern English drama