Spectators, aesthetics and encompletion
Author: Chloe Porter

This book discusses early modern English drama as a part of visual culture. It concerns the ideas about 'making and unmaking' that Shakespeare and his contemporaries may have known and formulated, and how these ideas relate to the author's own critical assumptions about early modern aesthetic experience. The study of drama as a part of visual culture offers the perfect context for an exploration of pre-modern aesthetic discourse. The book expounds the author's approach to plays as participants in a lively post-Reformation visual culture in the process of 're-formation'. It then focuses on the social meanings of patronage of the visual arts in a discussion of Paulina as patron of Hermione's image in The Winter's Tale. The discussion of The Winter's Tale pivots around the play's troubling investment in patriarchal notions of 'perfection'. The book also explores image-breaking in Robert Greene's Friar Bacon and Friar Bungay. This play presents an instance of onstage iconoclasm in the supernatural destruction of a demonic brazen head, a quasi-magical figure that had been depicted in English literature since at least the twelfth century. In focusing on the portrayal of invisibility in The Two Merry Milkmaids, the book explores early modern preoccupation with processes of visual construction in a play in which there is very little artisanal activity.

Open Access (free)
Speaking pictures?
Chloe Porter

on reception, become highly metatheatrical. Consequently, it is possible to investigate dramatists’ engagements with processes of visual construction as metatheatrical moments of reflection on the significance of representational activity. This study, then, takes theatre’s engagement with an active visual culture in process of ‘re-formation’ as a starting point from which to

in Making and unmaking in early modern English drama
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Yale’s Chronicles of America
Roberta E. Pearson

enough to be instructive, suggest that issues of collective memory and national identity achieve a high profile in periods of rapid change and reconfiguration. This might account for American academics and cultural critics recently taking great interest in the representation of history and memory. Kammen’s own magisterial volume traces the formation and re-formation of American memory from the Revolution to the end of the

in Memory and popular film
Non-binary youth and affective (re)orientations to family
Nina Perger

Taylor, 2013 ; Ahmed, 2006 b). If familial intimacy typically plays a large role in ‘shaping habitus’ ( Jamieson, 2011 : 5), such a failure of the family to maintain intimacy when confronted with transgender lives may necessitate the formation and re-formation of the transgender self as tensions between self-identity and its maintenance, on one hand, and, on the other, the relationships with

in Affective intimacies
Chloe Porter

’ metatheatrical engagements with the idea of representation. As I explain in the next section, this association between visual experience and matter subject-to-change is also highly pertinent for post-Reformation English visual contexts. Re-formation visual culture By the late sixteenth and early seventeenth centuries, English visual culture had experienced

in Making and unmaking in early modern English drama