|
Contents |
|
|
List of Illustrations |
7 |
|
Introduction |
9 |
|
Part I: England at the Margins |
|
| 1. |
Marginal England: The View from Aleppo |
27 |
| 2. |
Incising Venice: The Violence of Cultural Incorporation in The Merchant of Venice |
40 |
| 3. |
Barbers, Infidels, and Renegades: Antony and Cleopatra |
54 |
|
|
|
|
Part II: Researching the Renaissance |
|
| 1. |
Our Canon, Ourselves |
91 |
| 2. |
Artificial Couples: The Apprehensive Household in Dutch Pendants and Othello |
114 |
| 3. |
Spaces of Treason in Tudor England |
158 |
|
|
|
|
Part III: The Human Figure on the Stage |
|
| 1. |
Stage Masculinities, National History, and the Making of London Theatrical Culture |
199 |
| 2. |
Charisma and Institution-Building in Shakespeare's Second Tetralogy |
215 |
| 3. |
Mona Lisa Takes a Mountain Hike, Hamlet Goes for an Ocean Dip[ |
238 |
|
|
|
|
Part IV: Artifical Persons |
|
| 1. |
Psychoanalysis and EArly Modern Culture:
Lacan with Augustine and Montaigne |
257 |
| 2. |
Abdiel Centers Freedom |
278 |
| 3. |
Artificial Intensity: The Optical Technologies of Personal Reality Enhancement |
291 |
| |
|
|
| |
Notes on Contributors |
306 |
| |
Index |
309 |
