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The unknowable image in The Winter’s Tale

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
Divine destruction in Friar Bacon and Friar Bungay

‘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