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Victoria Coldham-Fussell

desire; Problemata , trans. E. S. Forster (Oxford: Clarendon Press, 1927), IV.877 b.15, retrieved from Internet Archive , (accessed May 2019). 101  See pp. 96–7, 118–20, 131–3 below. 102  On this tradition, see Kay, ‘Courts, Clerks, and Courtly Love’, pp. 81–2. 103  As L. A. Murillo points out, if Cervantes was sending up a somewhat absurd literary form, he was also inspired by the time-honoured proximity of romance and humour; ‘ Don Quixote as Renaissance Epic

in Comic Spenser
Steve Sohmer

Cambridge University, 29 June 1587, The National Archives, Kew, Privy Council Registers PC2/14/381. 39 Park Honan imagines that Marlowe ‘sailed through the Paris embassy ... there are signs that he delivered and picked up letters there ... [H]e depicts Paris with easy confidence’ in The Massacre at Paris

in Reading Shakespeare’s mind
Fragment of a printed verse miscellany
Hugh Gazzard

, & make speak to y e world; and shortlye they will play me in what formes they list upon y e stage. The least of these is a thowsand tymes woorse then death’ (National Archives, London, State Papers 12/274/138). In texts from the much-reprinted ballad A Lamentable Dittie (STC 6791), to political polemic by Thomas Scott, Robert Earle of Essex His Ghost, Sent from Elizian

in The early modern English sonnet
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Figures of comparison and repetition in Spenser’s Cantos of Mutabilitie and Donne’s Anniversaries
Yulia Ryzhik

titanomachy and a trial: Mutabilitie would metonymically ‘displace’ ( Cynthia from her palace and the other gods from ‘heauen’ ( The Anniversaries offer a dramatic monologue based on the fantastic premise that a fourteen-year-old girl’s death has left the present world a ‘carkasse’ ( First Anniversarie ( FA ), line 339). The temporalities of the Cantos and Anniversaries also strikingly diverge. Framed as an act of memory told by an archival narrator who then only occasionally interpolates or apostrophizes, the Cantos are veiled, like the rest

in Spenser and Donne
Jeremy Tambling

Archival anachrony When in the chronicle of wasted time I see descriptions of the fairest wights, And beauty making beautiful old rhyme In praise of ladies dead and lovely knights, Then in the blazon of sweet beauty’s best, Of hand, of foot, of lip, of eye, of brow, I see

in On anachronism
Erith Jaffe-Berg

delegation of Mantuan dignitaries (a letter from Gianfrancesco Anguissola to the Duke of Mantua dated 7 March 1567: ASMn:AG 40 c.22). Interestingly, among the other companies that were mentioned as travelling with this large delegation, archival evidence also reflects that during the visit there were feats of danger presented by the Turks (‘pericolo rappresentato dai Turchi’). Here

in Transnational connections in early modern theatre

This volume considers transnational and intercultural aspects of early modern theatre, drama and performance. Its twelve chapters, loosely cosmographically grouped into West, North and South, compose a complex image of early modern theatre connections as a socially, economically, politically and culturally realised tissue of links, networks, influences and paths of exchange. With particular attention to itinerant performers, court festival, and the significant black, Muslim and Jewish impact, they combine disciplines and methods to place Shakespeare and his contemporaries in the wider context of early performance culture in English, Spanish, French, Dutch, German, Czech and Italian speaking Europe. Their shared methodological approach examines transnational connections by linking abstract notions of wider theatre historical significance to concrete historical facts: archaeological findings, archival records, visual artefacts, and textual evidence. Crucial to the volume is this systematic yoking of theories with surviving historical evidence for the performative event – whether as material object, text, performative routine, theatregrams, rituals, festivities, genres, archival evidence or visual documentation. This approach enables it to explore the infinite variety of early modern performance culture by expanding the discourse, questioning the received canon, and rethinking the national restrictions of conventional maps to reveal a theatre that truly is without borders.

Telling stories from the Cavendish financial accounts
Alison Wiggins

, materiality and archival afterlife.2 It is concerned with how these conventional texts could be customised to serve the agendas of individuals or to accommodate the requirements of particular communities. It is concerned with how and why a person might draw up a set of financial accounts, but also with the implications of choices made over scribes, handwriting, presentation, personal spelling system and linguistic scripts. It is concerned with financial accounts as texts that had communicative functions related to their moment of production, but which could also carry

in Bess of Hardwick
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Rhe conversion of Venetian convent architecture and identity
Saundra Weddle

as a Priorate. By 1460, a group of tertiaries established residence in a nearby house, where, in 1470, church authorities eventually sent professed nuns from the convents of San Bernardino in Padua and Santa Chiara in Murano to educate the women in the Franciscan vita regolare. Before long the entire monastic complex of Santa Croce was ceded to the nuns. Archival records

in Conversions
Kevin Colls, William Mitchell and Paul Edmondson

After comprehensive archival research and archaeological interpretation, new artistic representations of New Place during Shakespeare’s ownership have been created by Phillip Watson ( Figures 5.12 – 16 , Plate 14 ). The results represent the most detailed and accurate impressions of New Place to date and illustrate the most likely version of the house as it may have been during Shakespeare’s occupancy

in Finding Shakespeare’s New Place