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Steve Sohmer

surprised into sonneteering by some real-life experience. Ever since the edition of Sonnets in 1837 by James Boaden ... scholars have pursued possible personal illusions.’ 11 Professor Duncan-Jones seems to infer that Shakespeare’s ‘fair youth’ and dark lady are literary creations which leapt full-formed from poet’s imagination. But, really, can this be so

in Reading Shakespeare’s mind
Chloe Porter

Michael Baxandall’s pioneering 1972 study, Painting and Experience in Fifteenth-Century Italy. 2 ‘Visual culture’ is a pertinent phrase for use in this study because it implies a breadth of visual reference that includes the diverse range of types of work with which an early modern artisan might be involved. Painters in this period regularly carried out decorative work, and, as Lucy Gent points out

in Making and unmaking in early modern English drama
Open Access (free)
Invisibility and erasure in The Two Merry Milkmaids
Chloe Porter

threatening to social and natural order. In contrast to Gyges, however, Corcut’s experience of being unseen while disguised as a shepherd leads him to a spiritual revelation that would have appealed to an early modern Christian audience. Before he is put to death on his brother’s orders, Corcut reveals: Since my vain flight from fair

in Making and unmaking in early modern English drama
Open Access (free)
Behind the screen
Chloe Porter

culture. 38 As our understanding of the development of early modern English visual culture expands, new opportunities to explore the place of visual discourses in the making of aesthetics ideas also emerge. The intertwining of metatheatrical self-reflection with explorations of processes of ‘making’ suggests to me that more needs to be done to understand historicised aesthetic experience in conjunction

in Making and unmaking in early modern English drama
Divine destruction in Friar Bacon and Friar Bungay
Chloe Porter

-breaking as a means to spiritual purification via the cleansing erasure of idols. This argument also, importantly, hinges on the suggestion that iconoclasm in Greene’s play sidesteps religious controversy because it is directed against technology, which was associated by many of Greene’s contemporaries with ‘atheism’, rather than against idols in the sense ‘narrowly identified with the Catholic

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

,” 211), there is not a great deal of evidence to support viewing The Kalender of Shepherds as espousing strongly Protestant views. The poem for October focuses on the month as the time for vintners to press wine, some of which will become sacred as “The blessed body of Christ in fleshe and blode / Which is our hope, refection and fode” (Copland, Kalender, B2v). Similarly, a passage on the Lord’s Prayer explains the request for daily bread thus: “Here we aske of God to be susteyned with materiall breade for our bodyes, and spiritual bread for our soules, that is the

in Spenserian satire