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constitutes an autobiography. Though it may not be linear, cannot be literal, might intentionally obfuscate or drift into fantasizing, it is notwithstanding true. It is truer than can be any biography written by a researcher-comelately, no matter how diligent, perceptive, and blunt. I have argued that Shakespeare’s works are no exception, that his sonnets and plays are studded with local
research that demonstrates the interactivity of reading and spectatorship in this period, from the violence of early modern writing and reading practices, to the iconoclasm so often associated with England in this period. 5 Drama participates in this culture of interactive reception; prologues, epilogues and chorus speeches are littered with calls for audience members to contribute to the production of onstage
of iconoclasm and idolatry, as well as research on the history of early modern visual regimes, now seems the perfect moment to embark on new, materialvisual explorations of early modern ideas about cultural production. Towards an end: Terminus A problem with the above suggestion is that I approach the visual and material cultures of early modern
–45. 54 I regret that in focusing on Clifford I contribute to critical overemphasis on elite examples of female patronage of the visual arts in early modern England. More research is needed on early modern English women patrons below the level of the elite; see Tittler, Portraits, Painters, and Publics , pp. 54
might seem sufficient, at this point, to accept that the constant deferral of completion implicit in the description of Euphues’s image of Elizabeth constituted a ‘finished’ state in early modern thought. This view is invited by the focus on fragmentation which has long dominated early modern research in a range of areas, particularly in studies of the body and the materiality of early modern texts. 8
Technology: Theatrum Mechanorum and the Assimilation of Renaissance Machinery’, in Mark L. Greenberg and Lance Schachterle (eds), Literature and Technology , Research in Technology Studies, 5 (London and Toronto: Associated University Presses, 1992 ), pp. 99–124, p. 110; see also Jonathan Sawday, Engines of the Imagination: Renaissance Culture and the Rise of the Machine
), p. 68. Tittler draws here on the ‘Making Art in Tudor Britain’ project at the National Portrait Gallery, London, which is led by Tarnya Cooper; see National Portrait Gallery. www.npg.org.uk/research/programmes/making-art-in-tudor-britain.php . Accessed 30 October 2012. 105 Orgel, ‘What is a