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Speaking pictures?
Chloe Porter

imperfection and the potential for viewers to ‘begin’ to ‘end’ what they see. Taking into account the idolatrous status of ‘finish’, chapter 4 asks what early modern dramatists and playgoers understood by ‘destruction’ with reference to Robert Greene’s Friar Bacon and Friar Bungay. This play presents an onstage depiction of iconoclasm in the breaking of a brazen head that is

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

early modern materiality as highly unstable and ‘worked’ by multiple agents that is suggested by Massai’s study. At the same time, my exploration of early modern dramatists’ engagements with notions of completion demonstrates that the ‘perfectible’ cultural product was a contested, transgressive figure in this period. When this observation is coupled with the emphasis on the ‘never

in Making and unmaking in early modern English drama
The unknowable image in The Winter’s Tale
Chloe Porter

’s attempts to ‘reach unto perfection’ in The Winter’s Tale reflect an interest in what it means to create, ‘make’ or ‘unmake’ a representation that is of greater significance for early modern dramatists than has previously been realised. As I noted at the beginning of this chapter, the ‘statue scene’ is often used as the focal point at which to draw conclusions regarding the

in Making and unmaking in early modern English drama