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The cinematic afterlife of an early modern political diva
Elisabeth Bronfen and Barbara Straumann

queen, and hear her cheering subjects, although the crowd remains invisible. The camera focuses exclusively on her, zooming into a close-up of her face, as the actress holds her pose. Then an overlapping dissolve superimposes an image of the crown onto her face. (The release of the film coincided with the coronation of Elizabeth II, thought by many to usher in a so-called new Elizabethan era.) Like

in The British monarchy on screen
Line Cottegnies

Brown’s argu­ ment that the emergence of a new literary subject in the late Elizabethan era was intrinsically linked with the expression of shame: indeed, selfpromotion and self-articulation are both ‘sources of shame’ (p. 220). If we read Mary Wroth’s sonnet sequence in this perspective, then we see a female poet grappling with the necessary pursuit of (shameful) selfassertion. The sonnets can in fact be read as an attempt at redeeming the shame-ridden female subject from the stigma of self-expression, a stigma made worse by the fact that she was writing her poems in

in Early modern women and the poem
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A historiographical perspective
Susan Doran and Paulina Kewes

and the 1601 Essex rebellion. What of the longer-term significance of the constitutional issues discussed in our book? Disagreements about the relative merits of hereditary right, royal nomination, election by parliament (with or without the monarch at the helm) or statutory limitations on the succession were confined neither to the Elizabethan era nor even to the ‘long’ sixteenth century. Such debates had been a feature of earlier periods, but they were revitalized and more fully articulated from the 1530s onward due to Henry VIII’s inability to sire a son by his

in Doubtful and dangerous
The imperial imagination
Andrekos Varnava

only withstood the Ottoman onslaught for a year. English Orientalist texts of the Elizabethan era fed the imperial imagination. Shakespeare’s Othello was a tale of conflict on the Christian–Muslim frontier with an Oriental mercenary, who did not belong to his adopted Occidental land, trying to hold out against the Muslims during the Ottoman conquest of Famagusta in 1571. 24 Although

in British Imperialism in Cyprus, 1878–1915
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Normative arrays of sexuality
Helen Cooper

go well beyond the places where he cites Chaucer by name, though those moments carry particular weight and have received particular attention. As Judith H. Anderson argues elsewhere in this volume, the reflections and refractions of Chaucer’s meanings can take many forms; and even when Spenser does not explicitly name his predecessor, his references to him are usually clearly intended to be recognised by his readers. The richness and breadth of allusions to Chaucer’s work across the Elizabethan era show how deeply the

in Rereading Chaucer and Spenser
A Philippist reading of Sidney’s New Arcadia
Richard James Wood

-hegemonic’ (Kaske’s term) religious position adopted by Elizabeth and that adopted by Edmund Spenser. With reference to the prevailing Puritan iconoclasm of the late Elizabethan era, Kaske notes, ‘on the Continent, Lutherans retained some images and restrained iconoclasm; but in Elizabethan England the Lutheran influence was far outweighed by iconoclastic Zwinglianism and Calvinism’. 32 For Kaske, ‘the only vocal English Protestants in Elizabethan times who tried … to conserve some images were Spenser and Elizabeth’. 33 This has been seen as Elizabeth’s preference for ‘an

in Sidney's Arcadia and the conflicts of virtue
Paul Whitfield White

closing years of the queen's reign. In recovering their history here, I hope to show that biblical drama remained a vital and enduring presence throughout the Elizabethan era, from parish communities in provincial towns to the great amphitheatres of London. The discussion which follows examines the plays in order of their civic, parish, educational, and professional sponsorship and affiliation. Civic or guilds-based biblical drama The most extensively studied biblical plays of Elizabeth's reign are the great mystery cycles

in Enacting the Bible in medieval and early modern drama
Shakespeare’s challenges to performativity
Yan Brailowsky

. 24 According to this reasoning, which distinguishes prophecies from their ‘germinant accomplishments’, one could argue that some Shakespearean prophecies survived the Elizabethan era in which they were written, becoming true post facto , as when one suggests that the late tragedies of the sixteenth century may have announced the tribulations of the Civil War in the seventeenth century – an argument made by Richard Wilson

in Shakespeare and the supernatural
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Laetitia Sansonetti, Rémi Vuillemin, and Enrica Zanin

Absence (Basingstoke: Palgrave Macmillan, 2005), and M.B. Moore, Desiring Voices: Women Sonneteers and Petrarchism (Carbondale: Southern Illinois University Press, 2011). 7 For a call to study texts of the mid-century or of the early Elizabethan era, see in particular C. Shrank

in The early modern English sonnet
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From commentary on poetry to poetry as commentary
William John Kennedy

wrote for an intimate court circle with little or no expectation of reaching a wider readership. Second, Tottel likely solicited the volume’s many ‘anonymous’ poems from Inns of Court students as responses to and commentaries upon Wyatt, Surrey and their noble confrères. Third, the proliferation of its editions into the later Elizabethan era left a legacy for succeeding poets to

in The early modern English sonnet