The works of Pietro Bembo (1470-1547) intrigue readers approaching them from various angles… Here, my aim is modest: to highlight passages in Bembo’s literary texts which exploit the erotic lexicon so popular in his day.

El Cid Campeador, obra teatral de Antonio Enríquez Gómez (1660-1663), se publicó reiteradamente a lo largo del siglo XVIII y los primeros años del XIX. La obra, casi desconocida hoy en día, gozó de una popularidad enorme entre 1700 y 1830, tanto en el teatro como en la imprenta, debido en parte a su tema histórico y el estilo barroco, tan de gus…[Read more]

This paper is the project narrative for a grant proposal submitted in February 2019, that resulted in funding from two different sources to cover travel expenses in support of archival work in Spain (summer 2019). I share this project narrative to encourage others who are considering similar proposals, or who may be thinking about the scholarly…[Read more]

In this essay Queen Margaret’s curses in Richard III become part of a feminist ethics on the early modern stage. As a parrhesiast, in Foucault’s terms, Margaret speaks truth to power and claims a right of citizenship. That Margaret elicits universal revulsion from the other characters while also holding a unique, though not untroubled, pos…[Read more]

In this essay Queen Margaret’s curses in Richard III become part of a feminist ethics on the early modern stage. As a parrhesiast, in Foucault’s terms, Margaret speaks truth to power and claims a right of citizenship. That Margaret elicits universal revulsion from the other characters while also holding a unique, though not untroubled, pos…[Read more]

This dissertation ‘Inns and Innkeeping in North Hertfordshire: 1660-1815’ addresses the lack of a localised study on this building type and supplements the wider body of work that has been undertaken, on inn form, function and innkeeping lifestyles in other regions of England during the long eighteenth century.

This is the Vol – 2, SPECIAL ISSUE 4: VOL – 2, MARCH 2020 issue.

Young Michelangelo Buonarroti’s experience was deeply marked by his cult of Antiquity, reverberated in the creation of artworks such as the Sleeping Cupid and the Bacchus and shared with Raffaele Riario and Jacopo Galli, his patrons during his first stay in Rome (1496-1501). The cardinal-camerlengo Raffaele Riario was an important promoter of t…[Read more]

The peculiar iconography of the winged horse surmounted by several puttos, as appears in the Hypnerotomachia Poliphili sixth woodcut, turns out to be unprecedented and enigmatic at a glance and it’s the result of the depth and complexity of the author’s concepts. Considering the iconographic details of the sculptural group as well as the text sca…[Read more]

This essay explores glass engravings by Dutch authors Anna Roemers Visscher, Maria Tesselschade
Roemers Visscher, and Anna Maria van Schurman. I place these engravings in their rich contemporary
contexts, comparing them to other art forms that were the product of female pastime. Like
embroidery, emblems, and alba amicorum, engraved glasses…[Read more]

How does a woman become a whore? What are the discursive dynamics making a woman a whore? And, more importantly, what are the discursive mechanics of unmaking? In Women and Shakespeare’s Cuckoldry Plays: Shifting Narratives of Marital Betrayal, Cristina León Alfar pursues these questions to tease out familiar cultural stories about female se…[Read more]

Shakespeare’s representations of history often have replaced history itself in the popular imagination: Julius Caesar, Margaret of Anjou, Henry V, Richard III — popular recollections of their lives and deaths are intimately linked with Shakespeare’s accounts of their stories, despite the playwright’s deviations from historical facts. In order t…[Read more]

Shakespeare’s representations of history often have replaced history itself in the popular imagination: Julius Caesar, Margaret of Anjou, Henry V, Richard III — popular recollections of their lives and deaths are intimately linked with Shakespeare’s accounts of their stories, despite the playwright’s deviations from historical facts. In order t…[Read more]

Gendered night, or the nocturnal brightness of the early modern English stage
In French, critics speak of the night using feminine terms, but the term is grammatically neutral in English. Despite this neutrality, night may be gendered. In Romeo and Juliet, virgins hide their shame from their lovers by hiding in the dark. If night is consecrated…[Read more]

Gendered night, or the nocturnal brightness of the early modern English stage
In French, critics speak of the night using feminine terms, but the term is grammatically neutral in English. Despite this neutrality, night may be gendered. In Romeo and Juliet, virgins hide their shame from their lovers by hiding in the dark. If night is consecrated…[Read more]

For poets like Sir Philip Sidney, the numerous incongruities found in Elizabethan drama fly in the face of Aristotelian theory. London audiences in 1580-1600 would have been hard pressed to recognize the time and place of the action represented on stage from one scene to the next. By comparing Greek theory and Elizabethan practice, this paper…[Read more]

For poets like Sir Philip Sidney, the numerous incongruities found in Elizabethan drama fly in the face of Aristotelian theory. London audiences in 1580-1600 would have been hard pressed to recognize the time and place of the action represented on stage from one scene to the next. By comparing Greek theory and Elizabethan practice, this paper…[Read more]

What might strike some as Arden of Faversham’s faulty construction may perhaps be ascribed to the fact that Arden’s murderers, as well as the play’s audience, had to learn how to “temper poison” (i.229). Poison is not simply a means to commit murder, its use also requires great dexterity, one which must be interpreted within a historical and metat…[Read more]