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storm scenes can be read in the contexts of early modern theatrical practice, meteorological understanding and contemporary theory. This approach is inevitably exclusive and I have had to be selective. But whilst the details of individual plays are my focus, there is one panoramic view worth glimpsing. If the storm in Shakespearean drama is to be thought of as functional, then

in Shakespeare’s storms
Movement as emotion in John Lyly

classifications as active or passive; thought-generated and thought-defined or physiologically determined; voluntary or nonvoluntary; functional or malfunctional; corrigible or not corrigible by a change of beliefs. 4 Lyly’s work endorses Rorty’s statement by mixing and thus collapsing these opposites

in The Renaissance of emotion
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generalization to state that by the mid-seventeenth century, those identities had become distinctly consolidated to the point where ‘modern’ assumptions about international difference govern the discourses of each country in relation to the other. By contrast, the hundred years or so with which I am concerned enacted the complex mechanisms of differentiation, and did so across unusually profound systemic changes

in French origins of English tragedy
Performing passion in Chaucer and Shakespeare

foremost less as a malady than as a social ritual, as a kind of educative ‘code’ according to which the courtier learns how to act reasonably in public so as to signal his willingness to take part in the rationality of the courtly game of love. 12 On the other hand, ‘romantic’ or Platonic love differentiates itself from the concept of love sickness through its (vertical) sequentiality of leading from

in Love, history and emotion in Chaucer and Shakespeare
Open Access (free)
Behind the screen

, ‘differentiation’ and disunity that are a ‘crucial pre-condition for the concept of the aesthetic to emerge’. 10 But what is fragmentation in a time before completeness as a realisable end? As I have suggested, this aspect of the pre-history of our current aesthetic discourse remains underexplored, even as important studies of early modern English culture draw attention to the mismatch between our critical

in Making and unmaking in early modern English drama
Hugh Clopton’s ‘grete house’ of c. 1483

Stratford’. This may have differentiated it from other, lesser dwellings on his estate, such as those on the corners of Swine Street (now Ely Street) and Sheep Street. It is generally believed that the house became known as the ‘New Place’ immediately upon its construction, although the first time it is specifically referred to by this name is in an indenture in 1532 between the son of William Clopton, also

in Finding Shakespeare’s New Place
The ‘inward eie’

. Jesuits were trained to conform their own appearance to the circumstances in which they found themselves, and not only the artistic vision that sprang from them, but the Exercises themselves were notably flexible in application. 5 This flexibility translated into artistic and creative theory: there was systematic differentiation between the pictures that surrounded Southwell in the privacy of the

in Robert Southwell
Canto form

distortion of the next stanza. Similarly, though the rhyming terms are semantically close, there is a subtle choregraphy of meanings across these stanzas, either to differentiate or intensify. ‘[A]s ye did heare’ addresses the reader as audience, reminding her of things she has previously read, but ‘each noyse that she did heare’ turns directly to Florimell. ‘[I]dle feare’ anticipates III.vii.1's depiction of Florimell ‘of her owne feete afeard’ and ‘her vaine feare’ as the narrator (for the moment at least) seeks to assuage readerly anxiety about the fleeing heroine. 85

in The art of The Faerie Queene

‘arche-writing’ in Derrida’s sense, inasmuch as it is characterized by an ontological and temporal self-differentiation and hence deferral’. 98 In this study I consider depictions of making and unmaking in plays as a mode of this early modern ‘arche-writing’ that posits a response to aesthetic limitations associated with divine hierarchy. Before encountering this Derridean reading of early modern

in Making and unmaking in early modern English drama
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The archaeology of the Spenserian stanza

change of referent dilutes the affective potential of the repetition. Spenser's use of the same device demonstrates the focus Drayton has forfeited here. In the couplet of the third stanza, ‘And her faire face’ and ‘And her fine corpes’ both apply to Arachne and are positioned in strict lineal and metrical parallel. Even a reader who doesn't know anaphora from antistrophe will recognise the functional juxtaposition of related verbal structures, as the rhetorical device enforces the transformation from beautiful to hideous. 117 Drayton's ongoing revisions bespeak his

in The art of The Faerie Queene