Andrea, Bernadette (U of Texas at San Antonio) "Gender, Empire, and Exchange in the Letters of Elizabeth I"

This presentation examines the letters by Elizabeth I in Richard Hakluyt's collection of proto imperialist propaganda, The Principal Navigations, Voyages, Traffiques, and Discoveries of the English Nation (1598-1600) to non- or (quasi-) European sovereigns. With the exception of Safiye, mother to the Ottoman Sultan, Mehmed III (1595-1603), all these sovereigns are male (including "the great Sophie of Persia," "the great Turke," and "the emperour of Marocco.") I therefore propose to analyze Elizabeth I's rhetorical strategies as Protestant "female prince" addressing primarily male Muslim sovereigns and to explore how these strategies compare with her address to a female Muslim of imperial stature.

Altimont, Alan J. St. Edward's University
"Andrew Marvell's Mower Poems and Henry Best's Farming Book"
"The labor of love to appreciate Marvell requires something of a love of labor as well as art to accomplish itself." Thomas Clayton may not have been thinking specifically of Andrew Marvell's Mower poems when he wrote that characteristically witty sentence more than two decades ago, and he was almost certainly not thinking of Henry Best's Farming Book, which opens up for us a by-gone world of labor somewhat grittier than that of the modern scholar. While scholarly discussion of the Mower poems has paid ample and indispensable attention to what the literary man Andrew Marvell brought, by way of classical and contemporary pastoral conventions, to the composition of these poems, relatively little attention has been paid to what Marvell's observations of real laborers may have contributed to these lyrics. Henry Best's Farming Book allows us to disentangle these observed elements from the poems and consider how they might affect interpretation.

Baker, Christopher. Armstrong Atlantic State University
"Richard II as rex ludens"
Roger Caillois' theory of play in his study Man, Play and Game offers a useful model for understanding Richard's behavior in Shakespeare's Richard II. Two of the four forms of play as theorized by Caillois, mimicry (role-playing) and ilinx (enjoyment of a vertiginous sense of falling) link Richard's theatricality with his obsession with his own fall. Richard's view of experience is essentially playful, not purposive; it is self-directed, not goal-directed. His adoption of various roles and masks throughout the play as well as his perverse fascination with his own deposition demonstrate his orientation to kingship as a form of play.

Baker, Moira P. Radford University
" Spectral Dildonics: Female Masculinization and Same-Sex Eroticism in The Roaring Girle"
Two early modern cultural fantasies related to female same-sex eroticism haunt the unconscious of the text, constituting what can be called the "spectral dildonics" of The Roaring Girle and reflecting uneasiness over the masculinization of women. The spectres of the prodigious, enlarged clitoris and its prosthetic equivalent, the dildo, which haunt contemporary gynecological, legal, and moral discourses of female same-sex eroticism, are reinscribed on the body of the crossdressed roaring girl, Moll. Both spectres point to what Marjorie Garber calls a "category crisis" that marks the instability at the heart of early modern constructions of sex, gender, and the self (Vested 16). Together they suggest an even deeper anxiety: the fear that there may be no fixed identity, no stable self, and no masculinity or femininity outside the performance of gendered scripts.

Baumlin, James S. and Barbara Watson.Southwest Missouri State University
"Fools and Dogs: On the Iconography of Human Reason Vs. Divine Guidance"
In "Clever Dogs and Nimble Spaniels: On the Iconography of Logic, Invention, and Imagination" (Explorations in Renaissance Culture 24 [1998]: 1-36), Karl Josef Höltgen recovers a significant aspect of iconographic tradition. In addition to their numerous other symbolisms (loyalty, companionship, ferocity, determinedness, appetite), dogs were often used to represent such "natural," animal cognitive faculties as "reason, imagination, and memory," faculties that, dog-like, could "search out and 'retrieve' ideas" (1) and arguments. By such canine imagery, Renaissance emblematists described the arts of logic as purely natural (or animal) faculties working independently of divine guidance. We wish to carry Professor Höltgen's argument one step further, to show how this same imagery was turned into a critique of our natural, human faculties. Within the traditional iconography of the Tarot, for example, the figure of "the fool" is led by a dog over a cliff, signifying the hazards of relying solely upon one's natural powers. The question, indeed, becomes one of right guidance: those who follow their "human-animal" faculties will fall by the wayside, whereas those who seek a higher spiritual guidance will be led safely through life's labyrinth. This same iconography recurs in an emblem from Herman Hugo's Pia Desideria (1624) reproduced in Francis Quarles' popular Emblemes (1635) in which one pilgrim is led perilously by a dog on a leash, while another grasps an angel's guiding thread.

Becker, Gina Young. Kansas State University
"Labyrinth in Pamphilia to Amphilanthus as a Symbol of Human Depravity"
Largely through conventions of feminist criticism, scholars discuss Lady Mary Wroth's use of the labyrinth in Pamphilia to Amphilanthus primarily as a symbol of gender-related struggles. Scant attention has been paid, though, to possible Protestant-related meanings that were well-established for the labyrinth by the time Wroth writes Pamphilia to Amphilanthus. Wroth develops the labyrinth as a metaphor for the Calvinist concept of human depravity. Her "Crowne of Sonetts" mimics a Calvinist depravity cycle: initial confusion, momentary enlightenment, then confusion again. She uses the same imagery Calvin uses to derive the concept of depravity from the Biblical Fall story.

Black, Lynette C. University of Memphis
"A Spenserian Reading Lesson in the October Eclogue of Spenser's Shepherd's Calendar"

Brand, Clinton Allen. Southern Illinois University
"Outrunning the Eschaton: Irony and Apocalyptic in Marvell's Major Poems"
If anything unifies the distressingly miscellaneous poems of Andrew Marvell, it is a restless obsession with the anxieties, uses, and meanings of time. Ranging from the pressures of psychic time to the possibilities of historical time, Marvell's poetry offers a rich heuristic field that canvasses human existence in the saeculum. This paper addresses anew Marvell's characteristic attitudes toward time and argues that these attitudes reveal neither a religious nor a secular sensibility (as exhibited in seventeenth-century poetic discourses) but a secularizing impulse by which traditional Christian topoi of transcendence beyond time mutate into the aspiration to several varieties of "inner-worldly fulfillment." Inflected by a Protestant psychology which apprehends time both as the duration and register of the Fall and as the dimension for enacting redemption, Marvell's major poems absorb and transform the energies of Puritan apocalyptic to participate in the ongoing cultural redefinition of human agency in time. As John Pocock observes, "apocalyptic, which sacralizes secular time, must always in an opposite sense secularize the sacred, by drawing the process of salvation into that time which is known as the saeculum." But where the chiliastic and parousiastic tendencies of seventeenth-century Protestantism sacralized historical and psychic time in terms of the "rule of the saints" and the "paradise within," Marvell's major poems, I suggest, explore differently, more idiosyncratically, the prospects and limits of human agency in transforming the intra-mundane moment with trans-mundane significance.

I begin by contrasting Marvell's characteristic treatment of "the ruins and remedies of Time" with that of his so-called "cavalier" and "metaphysical" brethren, surveying briefly the themes of sic vita, beatus ille, contemptus mundi, and the itinerarium mentis ad Deum. Marvell's major poems, I suggest, take as their premise a sense of chronos as empty duration, "fallen" time, a cipher of loss, grief, dissolution, and enervation—"Deserts of vast Eternity," "uncessant Labours," "the weak Circles of increasing Years." But this sense of disenchanted time is everywhere matched with witty "flights to Elyzium" and the restless efforts of his speakers to reconstitute time through energetic willfulness as a measure of fullness. But such "sweet and wholsome hours" are purchased as often as not through determined acts of metaphysical violence—"Annihilating all that's made/ To a green thought in a green Shade," casting "the Kingdoms old/ Into another Mold," tearing "Pleasures with rough strife," and otherwise arresting, devouring, congealing, contracting, and foreshortening "the great Work of Time," while venturing to "ante-date" some position of finality or repose beyond the contingency of time's passage.

In these selective readings of Marvell's major poems, I question conventional "Christian" interpretations, which secure their coherence through the dubious attribution of irony and allegory, and argue instead that these poems are characterized by a consistent posture of "Magnanimous Despair," suggesting a sensibility unmoored from the traditional resources of Christian consolation while retaining a fundamentally religious impulse toward transcendence. Seeking to locate Marvell's agon with Time amid a cultural moment that saw the simultaneous intensification of a displaced religiosity and the development of new forms of secularity, my argument seeks to develop Michael McKeon's contention that "the seventeenth-century crisis of secularization" can be seen as "the enabling precondition of Marvell's most compelling poetic activities." I also follow R. V. Young's thesis that even Marvell's most nearly "Christian" poems effectively "deconstruct" the devotional tradition, together with John Klause's account of the poet's "quarrel with God." And I seek to unpack C. A. Patrides' suggestive remark that Marvell is a pervasively "sublunar" poet whose equivocal theology "trembles on the brink of nonexistence, yet is vital to his poetry all the same."

Bunker, Nancy. University of Tulsa
"Validating and Staging the Transgressor: Middleton's Challenge with Moll Cutpurse"
Thomas Middleton's contribution to Renaissance "city" comedies highlights both unique character portraits and clever plots within the emerging urban environment. Intrigue drives much of the drama, and Middleton infuses his "citizens" with a satiric edge and variant appetites that cut across conventional class and gender boundaries and critique their inflexibility. This essay argues that The Roaring Girl challenges conventional patriarchal and societal relationship models and displaces them with atypical associations and unlikely alliances, which prove beneficial for all participants. Specifically, the variety and volume of Otherness manifested in the persona of Moll Cutpurse create her place and pierce conventional norms through intense heterosexual friendship, assertive speech, and blatant cross dressing.

Carrington, Jill. Stephen F. Austin State University
"The Pietro Roccabonella Tomb: Tradition and Innovation in a Paduan Context"
The tomb, created between 1491 and 1498 by Bartolomeo Bellano and Andrea Riccio, remains impressive in its dismembered state. The paper considers possibilities for the tomb's original appearnace and analyzes the panel of Roccabonella in a studio.

Cheney, Liana De Girolami. The University of Massachusetts-Lowell
"Botticelli's Interpretation of 'Antiquity': Camilla/Minerva and the Centaur

Clingan, Jill. Kansas State University
"The Script of Shame in Lady Mary Wroth's Pamphilia to Amphilanthus"
Many scholars have noted the private interiority of Lady Mary Wroth's Pamphilia to Amphilanthus, but they have not noted how this sonnet sequence is an expression of the painful self-awareness that Pamphilia encounters in the private world of shame. Donald Nathanson's book Shame and Pride introduces four defensive scripts, withdrawal, "attack self," avoidance, and "attack other," that deal with the compass of shame. Pamphilia responds to the shame of Amphilanthus' betrayal by utilizing all four defensive scripts. Although by following these scripts she does not conquer her feelings of shame, she does regroup a partial sense of self by the sonnet sequence's conclusion.

Clokey, Shawn. University of North Texas
"Cristóbal de Morales' Hexachord Mass: Sifting Sources Toward a Dating of Missa super Ut re mi fa sol la"
Missa super Ut re mifa sol la is the only undated work of Renaissance master, Cristóbal de Morales. The comparison of all Morales' masses on the basis of style, text setting, mode, and musical architecture provides a firrn basis for dating this hexachord mass. By sifting through the surviving sources, certain dates can be excluded. The combination of both these approaches yields a possible composition date of c. 1545-1547. This places the mass as the last of Morales' works, and the culmination of his output in the genre. Furthermore, this date is of importance, because this is the only hexachord mass from this time period.

Collmer, Robert G. Baylor University
"Cádiz, Donne, and Cervantes"
The Anglo-Dutch attack on Cadiz, Spain, in 1596 signalled a decisive shift in relations between England and spain in that an aggressive posture on England's part developed. The Earl of Essex led the "commando" invasion, which, though short in duration, carried much significance. It is better remembered by Spanish historians than by English-speaking person. John Donne participated in this campaign and included details about it in his Epigrams. Miguel de Cervantes in one of his Novelas ejemplares also incorporated myths related to this invation. Issues of catolicos secretos and Donne's life emerge in this comparison.

Conway, Megan. Louisiana State University, Shreveport
"Plot Pathology: Diagnosing a Renaissance Heroine"
Helisenne de Crenne's Les Angoysses douleureuses qui procedent d'amours tells the story of a young wife's illicit, obsessive, and ultimately fatal passion. Draped in a wealth of well-known literary conceits—love at first sight, the beautifui heroine, jealous husband, the girl's suffering, her imprisonment in a tower, and her eventual death—the story's emphasis on fate is easily accepted by the culturally conditioned reader. I would suggest, however, that Helisenne herself suggests another reading by constantly drawing the reader's attention to the health of her heroine. If we use Helisennes text as a medical history (perhaps one of the first case studies) her heroine's actions appear to be the result of a particular medical condition.

Crum, Melissa. The University of Alabama
"Jan van Eyck, The Arnolfini Marriage, 1434, National Gallery, London"
This paper examines the Arnolfini Wedding Portrait by Netherlandish painter Jan Van Eyck. It reexamines the customs of 15th century domestic weddings, history of the painting, and the theological context of the Catholic Church. The theme of this paper is its historical origins and its ambiguous origins before its entry into the National Gallery in London, as well as its ambiguous title. I will interpret a 20th century theory by Erwin Panofsky and determine that the portrait of Giovanni Arnolfini and his bride is a double betrothal portrait and not a domestic wedding portrait.

Davis, Richard. Denton Texas
"The Tongue in Richard II"
This paper examines the use of the word "tongue" in Shakespeare's Richard II. Previous scholars who wrote about "tongue" in Richard II made an error in abstracting general meanings about the use of the word. Instead of looking for a general meaning for "tongue," I examine two pivotal scenes (1.1 and 3.2) involving three different characters (Bolingbroke, Mowbray, and Scroop). I differ from previous scholars in that I argue Bolingbroke and Mowbray signify two different modes of speech by the use of "tongue." Bolingbroke, for instance, initially equates his tongue with his sword: he thinks that speech acts should be real acts. On the other hand, Mowbray initially uses "tongue" in a rhetorical parley that suggests he is highly conscious of the slippage between language and reality. Scene 3.2 serves as a good foundation to further examine Richard's switch to a more poetic use of his tongue. In this scene, I examine how Scroop serves as a catalyst for Richard's poetic speech.

Dees, Jerome. Kansas State University
"Aemilia Lanyer's Appropriation of Spenserian Neoplatonism"
I argue that Lanyer uses the fourth of Spenser's Fowre Hymnes in a creative and adversarial way to rewrite the Neoplatonic theory of love and beauty—to challenge its masculinist goal of mental, rational, mystic vision, transcending world and time, with an alternative, immanent vision, centered on a Christ who exists within the body and whose suffering in time is a model in particular for the condition of women in the world.

Delery, Clayton. Louisiana School for Math, Science and the Arts
"Spirits Masculine: The Homoerotic Angels of Paradise Lost"
In Paradise Lost, Milton portrays a tripartite universe in which the world of Adam and Eve falls between the realms of Heaven and Hell. Alone in the three realms, the earth is governed by male-female relations, whereas those in both Heaven and Hell are both homo-social and homoerotic in nature. It is the function of this paper to examine the role of the homoeroticism, looking at what it suggests about marriage, heavenly reward, and hellish punishment, and how the homoerotic model permeates culture even today.

Engel, William B. Nashville.
"The Staging of Kinetic Emblems"
This paper concerns the larger aesthetic principles associated with scenes from Renaissance drama that rhetorically evoked and self-consciously staged fatal perspectives of silent death. I am using the term "aesthetic" to imply that branch of philosophical inquiry concerned with perceptions not only of the beautiful but also the wondrous. The principal aim of this study though is to show the extent to which the motive force informing and animating the presentation of fatal perspectives in representative English dramas (Revenger's Tragedy and Spanish Tragedy) comes into focus when we take into account the intersection of emblems and the Art of Memory.

Etheridge, Chuck. McMurry University
"Sport, Courtesy Literature, and the Renaissance Gentleman"
This paper will examine how a Reniaissance gentleman's conception of self would have been intimately connected with sport, and how sport and class were intertwined. A number of fifteenth and sixteenth century sources will be examined, including The Boke of St. Albans, The Book Named the Governour, The Courtier, and Basilikon Doron. The paper will examine the way in which writing about sport "cut both ways"; in other words, how the upper classes used sport as a badge of gentility while the lower classes used sports as a means of social mobility.

Even, Yael. University of Missouri, St. Louis.
"More on the Cavalier Display of Sexual Violence in Ducal Florence"
The frequent celebratory display in mid and late sixteenth-century Florence of sexually violent scenes—derived from Greco-Roman mythology, literature, and history—is a subject which has not yet been explored. This paper examines both the growing currency that such images and spectacles gained in that culture and the role that ducal patronage had in their production and dissemination. Indeed, it is the first study to evaluate the impact of the Medici dynasty on the extraordinarily growing heroization and popularization of public statues, private paintings, and a variety of theatrical enactments featuring sexually motivated pursuits, abductions, and assaults.

Ferrara,Mark S. University of Denver
"Blake's Critique of Miltonic Reason in Paradise Lost"
Why would Blake cast Milton as the hero who must go to hell to redeem his emanations? Reason is the reason. The Miltonic emphasis on Reason means that, for Blake, Milton lacks both knowledge and true understanding of the Divine. Thus Blake dooms Milton to self-annihilation to cast off the self-hood of Reason and recover direct knowledge of the Divine. So while Milton very careful distinguished between four types of Reason (Satanic, Angelic, Prelapsarian and Post-lapsarian human Reason), he maintains the seat of the Soul is Reason, and for Blake, this is tantamount to veiled vision, even in Paradise.

Flansburg, Margaret. University of Central Oklahoma
"New Findings on Reliquary Coffins: Signa and Venice"
In the late medieval-early Renaissance and prior to the development of permanent stone tombs in the naves and side chapels of Italian churches, wooden coffins were common burial containers as recorded frequently in the Acta Sanctorum. Recent studies of reliquary altars and the functions of their memorial and chantry installations have shown that the remains of popular local saints (who were usually miracle workers) were sometimes preserved and displayed in wooden arcae. The coffins featured decorations emphasizing the intercessory powers of the unofficial santi. In previous papers on this subject, I have noted a growing number of known painted wooden reliquary coffins. To date, five extant coffins are known. An additional three were described in detail or sketched. In this paper, I will present the extant coffins of Beata Giovanna, an anchoress of Signa, and that of the Benedictine Beata Juliana Collalto from Venice. I will also discuss the Venetian coffin of San Secundo that is preserved in a drawing in the Correr Library. The cassone of Giovanna is presently in the restoration center of Florence and will be the only coffin to have been professionally conserved. I will include in this paper the problems presented by unprofessional and undocumented restoration.

Fleming, Alison C. College of the Holy Cross
"Innovation in the Guise of Tradition: Giotto and the Trecento Riminese School"
The Riminese School in early Trecento Italy absorbed the style of Giotto and blended it with local aspects to create one unique to their region. Yet the traditions they absorbed have created attribution problems for their works. There are many examples of their works in American collections that were acquired with Tuscan attributions, which have been subsequently corrected. However, the fact remains that they would likely have never been bought under their real names. This paper examines their style in comparison to their Tuscan contemporaries, and the larger implications of their innovative style, created from older conventions.

Ford, John. Delta State University
"Almost a miracle": Playing at Belief in King Lear and The Winter's Tale"
In Shakespeare's late plays there need no ghosts come from the grave—though, to be sure, they often do—to remind us of the presence of religious strangeness, wonder, that presides over these works: how often sophisticated, articulate, and powerful men are made to submit to something that is both simple and beyond the reach of language, of human authority, even of art. That "something" may be directly religious, such as a sudden appearance of Jupiter, or it may become suffused in the everyday miraculous movements of the sea, of climate, of time, or, as Carol Thomas Neely has shown, of female issue. At the same time, much has been written of the experimental and sophisticated artistry of these plays. There is a new sense of visual spectacle, the use of more elaborate theatrical "machinery," and the emergence of a densely intricate verbal style that gestures towards the cunning self-consciousness of metaphysical poetry. The essay will examine the unlikely alchemical union of these two defining features, one involving the submission of social and artistic sophistication and eloquence to the simplest terms of belief, the other a highly sophisticated, often meta-theatrical and metalinguistic, bonfire of artistry. To echo Florizel's question to Camillo, "[h]ow . . . may this, almost a miracle, be done?" The essay will focus on the role of meta-theatrical and ironic strategies in the representation of sacred wonder in King Lear and The Winter's Tale.

Frontain, Raymond. University of Central Arkansas
"Donne's Protestant Paradiso: The Johannine Vision of the Second Anniversary"
Donne's scorn for that "pert Italian Dant[e]," detailed in a letter to his friend and Ambassador to Venice Sir Henry Wotton, is most clearly expressed in the Second Anniversary where Donne appropriates the mechanics of Johannine vision which Dante institutionalized as the mark of the inspired Christian poem in the Commedia. Donne's ability to witness and testify to the progress of Elizabeth Drury's soul to heaven depends upon the power of his own meditation, however, rather than the mediation of the Virgin Mary and a host of saints. In effect Donne creates in the Second Anniversary a Protestant poem intended to correct the excesses of Catholic Dante.

Frost, Kate. University of Texas, Austin
"'All Come In': Scripture and Architecture in Jonson's 'To Penshurst'"

Galle, Jeffery. University of Louisiana, Monroe
"The Development of Marlowe's Dramatic Language in the Protagonists' Moments of Loss"
Some light can be shed on the issue of the chronology of Marlowe's plays by an examination of stylistic differences in the pivotal speeches involving moments of overwhelming loss for the central protagonists. In an examination of the stylistic differences in these dramatic moments, the development of Marlowe's dramatic language becomes more evident—repetition and amplification give way to understatement and realistic detail, the classical references begin to disappear, and elaborate figures of speech are replaced by the principle of psychological verity. The interpretive questions of unity or indeterminacy and thematic issues of subversion or support of humanistic tradition will be informed through such an analysis.

Gassiott, Kyle D. University of Iowa
"Bulghat's Monkey and the Tree of Knowledge"
In 1539 a dispute arose between printers Antonio Gardane and Jacobo Bulghat. Gardane had issued Motteti del Frutto, whose title page included a depiction of fruit. Bulghat's collection, the Motteti de la Simia, which copied Gardane's impression process and composers, pokes fun at Gardane through a title page depicting a monkey devouring fruit. In response, Gardane issued the second print of his motteti with a title page depicting a lion and bear devouring a monkey. These illustrations epitomize rivalries that existed between publishers who struggled for dominance in the new printing economy which required that one safeguard sources from those who would steal privileges and scores. Through references to Petrarch, Dürer, and Wu Ch'eng-en, this paper will discuss the iconography of the monkey and fruit, specifically the pomegranate, and explore their use in disputes such as that between Bulghat and Gardane.

Getz, Christine. University of Iowa
"La donna vestita di sole (1602) and Feminine Spirituality in Post-Tridentine Milan"
Orfeo Vecchi's La donna vestita di sole (1602) was a post-partum gift for Hippolita Borromea Sanseverina Barbiana. Its dedication, the madrigals contained, and related Milanese archival documents reveal that the collection is an ordered cycle that functioned as a musical catechism for noblewomen in post-Tridentine Milan. Each madrigal of the collection is devoted to either the exegesis of a particular virtue ascribed to the Blessed Virgin or a pivotal event in her human experience. The Marian attributes enurnerated in the madrigals are based upon those found in books on Christian doctrine that were used to teach catechism in the confraternity schools of post-Tridentine Milan. Additionally, they echo feminine ideals espoused in Milanese cinquecentine devoted to Marian worship. The cyclical arrangement of the madrigals in La donna vestita di sole mirrors the popular post-Tridentine motifs of the rosary and the tree of Jesse, and was intended as a musical stepladder to the achievement of feminine spirituality.

Hagerman-Young, Anita M. Southwest Missouri State University
"Time Alchemy and Elizabeth I as Philosopher's Stone"
Alchemical theory in early modern England was as much about a desire to better the world as about science, reaching beyond mere physical gold to gold as a metaphor for a state of perfection. Not surprisingly, therefore, Elizabethan thinkers and writers utilized alchemical imagery and language to refer to politics and the dream of an ideal state. The concept of a golden reality was problematic, but the thematics of the introduction of a new golden age or Uchronia via the personage of an ideal ruler remained prominent, particularly in court drama, with its dual purpose of flattery and didacticism.

Holtgen, Karl Josef. University of Erlangen-Nürnberg
"The Illustrations of Louis Richeome's La peinture spirituelle (1611) and Jesuit Iconography
La Peinture is a very rare book but its impact has been considerable. It had an assured readership in generations of Jesuit novices who were educated in the Roman novitiate of S. Andrea al Quirinale. It was intended as a supplement to the Spiritual Exercises of Ignatius of Loyola. Jesuit meditation on pictures encourages the use of classical systems of artificial memory with the help of places (loci) and images (imagines agentes). It advances from visual impression and rhetorical ekphrasis to allegorical meaning and spiritual insight. The buildings, gardens and pictures of the Jesuit house and the novices' church of S. Vitale provide matter for memory places and have been reproduced in a series of twleve plates by Mathaeus Greuter, a careful and sensitive German engraver working in Rome. This paper gives an account of the illustrations and identifies, as far as possible, their place in the house and in Jesuit iconography and notes he alteration of prototypes for the design of the engraved plates.

Hooton, William, III. Duquesne University
"Overcoming the Man: Verbal Self-Representation and the Voice of Ideology in Herbert's Temple"
This paper explores the relation between religious convictyon, the desire for self-recognition, ideology, and politics in several key poems in Herbert's The Temple, including "Jordan" (I and II), "The Collar," and "Sin." Using Althusserian ideas of ideology and its institutional embodiments, I examine how the needs of the flesh and self are placed in an imaginary dialogic relationship with a divine ideology that finally overcomes the concrete material individual through the interpellation, or the literal "calling forth" of "Holy Mr. Herbert" (as Charles Lamb called him) as subject of the interlocutor, the constructed voice of God.

Howard, W. Scott. University of Denver
"Milton Panel: Miltonic Transgressions: Of Doubt, Reason, Time and Politics"
W. Scott Howard (speaker and moderator): "Miltonic Transgressions: Of Doubt, Reason, Time and Politics"
Pamela Troyer (speaker): "Original Doubt: Curiosity, Salvation, Suspicion, and Sin in Paradise Lost"
Mark Ferrara (speaker): "Blake's Critique of Miltonic Reason in Paradise Lost"
Alan Tinkler (speaker): "The Functioning of Time: Milton, the Reader, and the Persistent Present"
Jessica Parker (speaker): "Milton as Radical Conservative Reformer"

This brief presentation introduces the four papers on this Milton panel through a reflection upon their origin in a graduate seminar that I taught at The University of Denver in 2000. The methods and structure of the course will be discussed, in particular: how and why we read Milton's prose tracts as a preface to Paradise Lost; integrated technology into the classroom; and concluded the seminar with studies of creative works that engage with Milton's legacy. Photocopies of the course syllabusÑavailable as handoutsÑand web pages projected during this talk will facilitate the examination of this teaching context.

Jacobs, Erik Grettir and Erin Newport, Kansas State University
"'The voyce he knew': Lady Mary Wroth's Theatrical Voice"
This paper examines Wroth's voice, and her willingness to have polygenetic characters speak for herself (and sometimes her closest friends) to various audiences, some expansively large and others restrictively small, in a paradoxically "theatrical," i.e. revelatory, and "anti-theatrical," i.e. private, manner in Urania and Pamphilia to Amphilanthus. We claim her oxymoronic word usage and diametrically opposing themes, such as (1) "exposing" and "concealing" her true feelings, (2) "publishing" and "encoding" her writings, and (3) "changing" and "not changing" her characters, enhances her ability to speak to two or more audiences at once without compromising her wish to mask what she says to smaller audiences from the larger. We also posit an explanation for why Wroth's sonnet sequence, which seems upon the first read to be arcane, anachronistic and abstract, becomes so intimate and understandable upon further study; that is, possibly Wroth had a true target audience of one: William Herbert, the third Earl of Pembroke.

Johnson, Joe. Georgia Southwestern State University.
"Sleeping with the Devil: Misogyny and Sodomy in François de Rosset's Histoires tragiques"
A corporeal desire for the divine, as with so many religions, has a venerable, if peculiar, place in the thousands-years old Judeo-Christian tradition(s). Figuring God as male, the ancient Isrealites often described their relation in erotic, bridal terms, although His most eminent worshipers, e.g., Moses or Jacob, were men. In the later Christian tradition, artists of the late Middle Ages and Renaissance were inspired to express their devotion by portraying angels, saints, God, and Christ as beautiful, desirable figures in paint, stone, and words. The corporeality of Christ, and hence the possibility of a redemptive, physical union with Him for either men or women found its damning counterweight in the notion of a similar corporeality of Satan who was able to enjoy sexual relations with his victims, both female and male. An exceptional example of this "hellish eroticism" is a French work roughly contemporaneous with Quarles and the Metaphysics in England is the HISTOIRES TRAGIQUES by Fran�ois de Rosset. In his exceptionally popular work, which knew some forty editions between the original publication in 1614 and the middle of the eighteenth century, Rosset plumbs an obsession of the times: that women are the malevolent, homicidal familiars of Satan, if not Satan himself.

Kerrigan, Marlene B. Portland State University.
"The Devil in Monk's Clothing in the Temptations of Christ: Heresy, Alchemy, and Visual Arguments Against Traditional Antonine Medicine"
Due to the uncertain patronage of his works, Bosch's paintings have been associated with known factors: the Brotherhood of Our Lady (f.1318), the Brothers of the Common Life, the Order of St. John of Jerusalem, and the Brothers of the Free Spirit (the Adamites). That his versions of the Temptations of St. Anthony had been painted for the Antonines has not been documented. Although to commission works of their patron saint seems to be a logical assumption, such patronage would negate the common scholarly conclusions that the key to Antonine themes is the practice of alchemy, then considered heretical. Little attention is placed on the over-painted images of a Dominican friar Bosch's Ecce Homo (Frankfurt) which indicate contact with the order that pursued heretics. Antonine and Dominican patronage, therefore, might have determined some of the attitudes expressed in especially those paintings that contain fantastic elements and focus on sin and punishment without references to salvation.

Klawitter, George. St. Edward's University
"Henry Fuseli and Satan: Bringing the Erotic into Paradise Lost"
The nude figures that Fuseli, Burney, and Westall created to illustrate Paradise Lost were in some ways inevitable, given the movement toward classical realism that was gradually emerging in the eighteenth century, but the work of these three illustrators does not fail to impress even today, two centuries after their appearance. The three artists were truly purveyors of the erotic in Milton imagery, both for their figures of Satan and also for the naked humans who, although innocently nude even after sin, are tinged with the erotic. The new Satan, curiously human, appeals to an appetite that older Satans never tapped.

Kuhlisch, Tina. University of Nevada, Las Vegas
"Thomas Wyatt's Personal Petrarchan Sonnets"
With his imitations of sonnets by the Italian poet Francesco Petrarca, Wyatt introduced this poetic form into English literature. Yet he significantly changed it at the same time, transforming structure, form, and content. This resulted in changes of meaning in Wyatt's sonnets compared to the originals by Petrarch, although not in all of them. I am interested only in the changes that paradoxically contribute to creating more personal, this-worldly poems that are closer to the speaker's inner emotional state within the immediate, realistic context of the court, for Wyatt's speaker is simultaneously a courtier and a court poet and is less conventional than Petrarch's, contrary to the general expectation one might have when reading "public" poetry.

Leverett, Emily. Ohio State University
"'to make nothing anything': Sex, Gender, and Costume in John Lyly's Gallathea"
John Ly1y's Gallathea centers around costume. What happens to people when they dress contrary to their sex? In my paper I discuss the two different perspectives on costuming Lyly presents. Costumes are presented as dangerous and potentially corruptive through the character of Gallathea, who begins to collapse her costume and her sex. She thinks she is becoming a boy. Phillida, on the other hand, retains the ability to differentiate between what she wears and perforrns, and who she believes she really is. Lyly never ultimately resolves the tension between the two viewpoints demonstrating the vivid tension alive during his own time.

Longsworth, Ellen. Merrimack College
"The Foulc Madonna and Child and Two Clerics: Lombard Sculptures in Two U.S. Museums"
The exquisite marble statuette of the Foulc Madonnna and Child in the Philadelphia Museum of Art is related stylistically and programmatically to two marble figures of genuflecting Clerics owned by the John and Mable Ringling Museum of Art in Sarasota, Florida. The three sculptures, traditionally identified either with the Mantegazza or with the "circle" of Amadeo, recently were reattributed to Giovanni Antonio Piatti, the sculptor initially commissioned for the tomb of which these figures originally formed a part. However, Piatti's only known documented work, the life-sized figure in relief of Plato in the Pinacoteca Ambroslana, has nothing in common with the Ringling and Philadelphia figures. Further, it is clear from a number of related sculptures, which Piatti could not have carved, that the Madonna and Child and the Clerics cannot be his. The reattributions I propose also include a trio of angels in the Castello Sforzesco, currently ascribed to Piatti.

McKinney, Timothy R.
"Vicentino and Zarlino on Music's Expressive Power: Modal Ethos Revisited"
Writers on music have long struggled with explaining its ability to move its listeners. The ancient Greeks attributed the expressive power of music to the system of scales they employed. Although applied to a different set of scales, this notion was to persist throughout the Middle Ages and the Renaissance, and even to the present day in common characterizations of the major and minor modes. The seeds of this modern twofold affective system were sown long before the major/minor scale system replaced the eight- or twelve-fold modal systems of medieval and Renaissance music theory during the course of the seventeenth century. The present paper examines these seeds in the writings of Renaissance music theorists Nicola Vicentino and Gioseffo Zarlino, who redefine modal ethos in terms of harmonic consonance.

Marchesi, Patricia. University of Colorado, Boulder
"'The Theater of History': Politics, Class, and Subversion in 1 Henry IV" Patricia Marchesi Department of Comparative Literature University of Colorado at Boulder
Whereas critics such as E. M. W. Tillyard suggest that England is the main character of Shakespeare's history plays, closer analysis reveals that Shakespeare's primary concern is the representation of History within the power structure of Elizabethan politics. His use of character portrayal, plot, and language point to a preoccupation with how different—and usually competing—versions of history can exist simultaneously. Characters, while seemingly individualized, are representative of different historical spheres. Shakespeare's practice of politicizing history dictates which characters will ultimately prevail as the official, Elizabethan version of English history. In this paper, particular attention is given to the role of history as the protagonist in Shakespeare's 1HIV, 2HIV, and HV. Highly conscious of the pressures of Elizabethan politics, Shakespeare uses the Elizabethan theater as a stage for subversiveness. Hotspur, a poetic and passionate version of Hal, stands for a version of History that is appealing but not favored by Fate. Falstaff, ironically an out-of-work knight, has a dominating physical presence and comic appeal common to Shakespeare's lower class characters. His character reifies the history of the low-life, forgotten "cannon fodder" class at whose expense the nobility can afford to have such high ideals of honor. Meanwhile, the future victor at Agincourt and the putative hero of the play, Hal, is a scheming and unappealing character who represents the version of History which ultimately prevails. In all three plays, the tension between the audiences patriotic sentiments and sympathy for Falstaff creates the subversion. This very tension ultimately exposes the political structure which deprives the lower classes, as the forgotten and unnamed, from the power of language and memory.

Marquis, Paul A.
"Editing and Unediting Tottel's Songes and Sonettes"

Matar, Nabil. Florida Institute of Technology
"In the Lands of Christians: Arab Perceptions of Renaissance Europeans, with Special Reference to Women"

Meyer, Jeff , Concordia College
"Grouping of Songs in John Dowland's Lutesong Publications: Explorations of Tonal Strategies and Textual Linkages"
Four collections of John Dowland's lutesongs were published during his lifetime, between 1597 and 1612. The majority of the songs were likely written well before each publication and subsequently collected by the composer, publisher, or both at the time of publication. Through an analysis of these songs' tonal structures, it becomes apparent that many of the lutesongs were linked togetherÐsometimes by pairs, trios, or even larger groupsÐ and then placed consecutively in the songbooks. This paper will explore questions surrounding these groupings and the implications for understanding Dowland's compositional practice, lutesong publications, performance practice, and the history of music theory.

The songs could have been grouped together at the time of publication; the composer or publisher could have sought out existing pieces that shared certain features and placed them consecutively in the songbooks. But it is more probable that Dowland conceived of these songs as groups prior to or at the time of their composition. In this way he might have explored a distinctive compositional strategy throughout a range of songs, applied similar tonal structures to linked texts, or deliberately contrasted and balanced a pair of songs in order to create a single entity. Furthermore, while it is clear that tonal features are the most commonly shared traits, I would also like to consider other features of the songs, particularly those related to the text, that might also contribute to their identity as a group. If these clusters illustrate Dowland's penchant for exploring a distinctive compositional strategy during a specific period of time, this would aid in forming a compositional chronology for the composer.

In addition, while these distinctive tonal explorations are not necessarily progressive, that is, moving from one to the other in an ordered or developmental manner, their differences do suggest that Dowland's conception of and practice within the tonal system became clearer as the composer matured. For example, by the time the final songbook, A Pilgrimes Solace, was published in 1612, Dowland had developed a distinctive process for the treatment of each of the two flat airs (the English equivalent to mode). These airs are commonly but erroneously grouped together as a single modalityÐthe minor mode. The composer's practice thus explicitly contradicts the notion that as the Renaissance proceeded into the Baroque, the system of modes was transformed into the major-minor system. In Dowland's lutesongs, we see a clearer distinction of the modes later in his life, and not their formation into two larger structures. This is one way in which the study of the song groups can inform larger questions of historical and critical interest.

Moseley, Michelle. University of Alabama
"The Economics of Sight and Desire in Early Modern Images of 'Lot and His Daughters'"
The Old Testament story of "Lot and His Daughters" appeared in the visual arts during the twelfth century and experienced a peak of popularity later in the sixteenth century. Both medieval and Reformation uses of the scene highlight the biblical content of the theme and apply this to its proposed function of advertising and reinforcing Christian moral values. This paper concentrates on the early seventeenth century as the final stage in the evolution of "Lot and His Daughters" as a prominent theme in the European visual arts. By the early seventeenth century, a variation of the depiction of the "Lot and His Daughters" image appears in the Netherlands. While retaining the sexual rendering of the scene instituted by Reformation German artists, and the basic iconographic program of medieval images, Netherlandish artists incorporated the added dimension of constructing the entire image itself as a desirable, valuable object. Lavish materials, sensuously detailed surface textures and mannered nudes characterize these works, pointing to a new direction for the use of this theme. I propose that the scene is no longer used as a banner to advertise Christian morality, but becomes the perfect vehicle for the fashionable Dutch Mannerist style; composition and iconography, not content, are now its chief features. Works displaying this high degree of quality and craftsmanship not only worked to demonstrate the abilities of the artist, but they also function to reflect the status, wealth and taste of the buyer himself. This is demonstrated by Joachim WtewaelÕs painting Lot and His Daughters, c. 1600, as well as other examples. This study concludes that the conscious construction of these sensuous and opulent images for moneyed buyers was ultimately intended to elevate the Netherlandish painter to a status similar to the celebratory regard in which Italian Renaissance artists were held.

Nydam, Arlen. University of Texas at Austin
"The Influence of Numerological Tradition in the Works of Jupiter Hammon"
Traces of numerological structuring and symbolism appear in the poetry of Jupiter Hammon, America's first black poet. In particular, the number 23 is used symbolically in a manner strikingly similar to that of Dante and Milton. Recognizing this in Hammon's poems leads to fuller understanding of both the beginnings of African-American literature and of the dying days of a Renaissance literary tradition.

Ocañas, Patricia G. Our Lady of the Lake University
"What '. . . is right for Catholics in England?': Catholic Loyalty in the Work of Father Thomas Wright"
The Catholic community in early modern England struggied to find its identity in the midst of external and intemal conflicts. An English Catholic might defiantly declare his position as a recusant and therefore be a practicing Catholie both privately and publicly. A pragmatic altemative, viewed as distasteful by both recusant Catholics and Protestants, was to maintain one's private practice as a Catholic but publicly attend and participate in Protestant services. Calied "papists" by Catholics and Protestants alike, members of this group tried to negotiate these conflicting spiritual and temporal issues. As a consequence of these private and public obligations, Catholics also had to clarify their role as English subjects. Could an English Catholic be loyal to the crown, or should he work to overthrow a govemment that the pope himself had called unlawful? In an unpublisbed tract entitled Whether it is right for Catholics in England to use arms and other means to defend the queen and the realm against the Spaniards (c. 1594), Father Thomas Wright, a Jesuit priest born in England, attempts to answer this question affirmatively. A good Catholic must be a loyal to both God and country, even when he feels that the country is not loyal to him. Wright's argument thus helps establish a Catholic identity that seems to transcend the spiritual and temporal conflicts of early modem England. This paper will examine Wright's definition of an English Catholic as well as his unique awareness of his audience's concems in constructing this identity.

Ohan, Christopher. Texas Christian University
"The 'Creation' of Francis of Assisi: Written and Pictorial Texts"
The thirteenth century was a drainatic period of change on the central Italian peninsula. During this time the artistic and intellectual climate underwent a transformation that can be directly connected to the rise of the Franciscan movement. Francis of Assisi, who died in 1226, left behind a large but loosely organized following. During his life he argued that his followers needed only the Rule of the Gospel and imitation of Christ. Because of the lack of a finn rule for the early Franciscans, the order quickly splintered. Many of these groups wrote accounts of the life of Francis. His followers, in fact, emphasized imitation of Francis rather than strict adherence to a fonnal rule.

This study begins with an investigation of the early politics, dynamic forces, and individuals like Thomas of Celano and Bonaventure that vied for power via the drafting of Francis' life. It traces the different accounts of the saint's life that came together in Bonaventure's official account in 1263. After Francis had been "created" in a written text, artists began to "create" Francis in visual form. Both the text and the art that emerged in the thirteenth century created a figure of Francis that served as an alter Christus.

The effect of this alter Christus can be seen in the fact that both the intellectual and artistic climates of thirteenth-century Italy were transfonned. Artists such as Giotto created images that were contemporary and real in time and space. Also, following the Franciscan conversion experience. In general this Franciscan alter Christus disregarded the physical in favor of a spiritual or affective perspective. Bridging the gap between art historians of the period and Franciscan scholars, this work is a synthesis that reveals the dynarnic links between Franciscan texts and art. The pictorial art that was employed to render the life of Francis ushered in a period of creativity, realism, and contemporary vitality that would later flower in the Italian Renaissance.

Palmer, Allison Lee. University of Oklahoma
"The Quattrocento Sarcophagus of Saint Columban at Bobbio and His Enduring Influence in Italy During the Renaissance"
The monastery of Bobbio, south of Milan, was founded in the early seventh century by the famous Irish monk St. Columban from the monastery of Bangor. Columban traveled to Italy in 613 and was given a plece of land in the Apennines by the Lornbard King Agllulf, where he created this final monastery two years before his death. Most scholars have focused on the medieval scriptorium of Bobbio, but the Renaissance sarcophagus of Saint Columban that was carved in 1480 by Giovanni de' Patriarchi "de Mediolano" remains unstudied. The scenes selected for representation on the sarcophagus reveal the more enduring highlights of Saint Columban's life that include the Institution of his Rule, the approval of the monastery by Pope Gregory the Great and the saint's miraculous ability to tame wild beasts and exorcise the devil. In the Renaissance, Bobbio grew into a thriving cultural center that shared the heritage of this unusual Irish saint.

Parker, Jessica. University of Denver
"Milton as Radical Conservative Reformer"
This essay repositions Milton within political history. A consideration of Milton's politics must account for the complexities found in his prose tracts and in Paradise Lost. The examination of Milton's politics should begin with a reassessment of our definitions of radical and conservative. Milton was a radical conservative reformer. Milton's politics are uncategorizable in simple terms like Whig or elitist because he was both a radical and a conservative interested in reform of the individual, the church, and the state. This essay engages with Milton's vices and virtues to develop a picture of Milton's politics that recognizes both his revolutionary and his highly conservative impulses in his portrayals of right and just earthly government.

Pasupathi, Vimala C. University of Texas, Austin
"'Making Eche Subject Clearly See': The Panoptic Breast of Elizabeth I in George Puttenham's Roundel"
This essay focuses on a Roundel in Book 11 of George Pluttenham's Arte ofEnglish Poesie (15 89) which depicts rays issuing from the breast of Queen Elizabeth "as from an eye," (my emphasis). As this conceit employs Puttenham's figure of transport, the poet's own poetic theories indicate that the breast had some affinity with the eye. The novel comparison of Elizabeth's breast and eye is the subject of my inquiry, wherein I discuss the significance of the eye-breast rays with respect to where they reflect; their role in the larger poem, and the considerable weight they seem to exert on the mind (if not the unconscious) of the poet.

Paterson, Susanne. University of New Hampshire, Manchester
"Meddling in mens affairs": Feminizing Male Military Relations in John Fletcher's Bonduca

Payne, Paula H. Georgia Military College
"Sidney's Poetic Invention: Theory and Practice"
In The Defence of Poesie, Sir Philip Sidney views invention as the essential first step to writing poetry or "persuasive poetic discourse." Sidney discusses this dynamic engagement between poet and reader from two distinct yet intersecting viewpoints: the poet's position and the reader's position. The first component of this poetic invention incorporates what Forrest G. Robinson calls "visual epistemology." For Renaissance writers, this visual epistemology postulated "thinking leads to seeing." The poet visualizes in his mind's eye a conceit or a metaphor that captures the essence of his intended poetic concept. The second component of this theory originates with Aristotle's common topic, "Man's power to act or speak is good and expedient." Sidney made Aristotle's topic his own guiding maxim by arguing, "Man's power to act or to speak or to write good poetry is good and expedient." The theory of poetic invention outlined in Sidney's critical essay, The Defence, becomes the example in his sonnet sequence Astrophel and Stella, and both reflect the author's preoccupation with the workings of the mind. The theoretical approaches taken by Sidney and Aristotle share a similar focus: speaker, audience, and persuasive purpose that emphasize moving men to virtuous action. For Sir Philip, the mental link between the poet and the reader can open the readers' minds to the beauties of poetry. In other words, Sidney's poetic invention is a theory of communication completed through poetry\'s persuasive speaking pictures. In his Defence, Sidney names the basic components in this shared process of invention as "fore-conceit," "groundplot," "energia," "speaking-picture," and "delight." Seven poems from the sonnet sequence (AS # 6, 44, 45, 50, 74, 81, and 90) offer examples of Sidney's dialectic theory and the process of invention that linked the poet with the reader.

Plant, Alisa. Yale University
"Divine Providence and the Society of Jesus in Florimond de Raemond's History of Heresy"
In this paper, I will explore some aspects of divine providence as delineated by Catholic polemicist and Bordeaux parlementaire Florimond de Raemond (c. 1540-1601) in his magnum opus, History of the Birth, Progress, and Decline of Heresy in This Century (first ed. 1605). From the heresies of the early Church onwards, Raemond believed, God provided an "antidote" to heresy; thus, for example, Augustine of Hippo was sent against the Manicheans and Pelagians, while centuries later Dominic Guzm‡n appeared to combat Albigensianism. In the sixteenth century, Raemond saw the Society of Jesus as fulfilling the divinely ordained role of orthodox "antidote" to the Protestant Reformation. This helps to explain the seeming contradiction between Raemond's parlementaire Gallicanism and his enthusiasm for the Society.

Powers, Katherine. California State University-Fullerton
"'Vergine bella'" as Devotional Song in the Counter Reformation"

Priest, Dale G. Lamar University
"'As stinking every whit': Realism, Artifice and Comic Form in Ben Jonson's Bartholomew Fair"
In Bartholomew Fair (1614), Jonson employs both dramatic realism and theatrical artifice to foster specific generic strategies and elicit audience response appropriate to those strategies. In the dense, gritty middle section of the play, a sustained use of realistic effects works to the playwright's satiric purposes in punishing knavery and holding up folly to ridicule. The primary targets there are the self-important legalism of Justice Overdo and the self-righteous hypocrisy of the Puritan Rabbi Busy. In the final act, however, the shifting of the action to the puppet show (with its overtly self-reflexive theatricality) creates a quasi-magical effect in an audience to loosen our commitment to the hounding of fools and to promote instead the kind of genial tolerance and forgiveness that defines the conclusion of festive comedy.

Razovsky, Helaine. Northwestern State University, Louisiana
"Snuffing Out Women" Gender and Death in English Renaissance Tragedies"
The manner in which women die in English Renaissance tragedies is related to the social norms to which women were expected to conform. The dangerous tongues of women are a common theme in English Renaissance writings. Behaviors denigrated by terms such as shrewishness or sluttishness may be condemned in some measure of their effects; however, the behaviors are also seen as signs of a lack of male control over women. Female characters who die in Renaissance tragedies are more often strangeled or poisoned than male characters because the way in which women are killed serves as a sign of the need to silence them. This paper will explore the semiotics of the deaths of women (and a few men) in English Renaissance tragedies.

Reinheimer, David A. Southeast Missouri State University
"A Poetics of the Inset Play"

Ronan, Clifford. Southwest Texas State University
"The Greatness of Chapman's Caesar"
Despite a few lone voices, criticism has been unduly unkind to George Chapman's Caesar in Caesar and Pompey. A fresh look at this "martial history" reveals a Caesar far more interesting and complicated than Jonson's (in Catiline) or even in Shakespeare's tragedy. Few early modem prose writers did anything approaching justice to the fascinating Julius. The most notable exception is Montaigne, and Chapman came closest to the full range of the man. Here we find the nearest approximation to a heroic politician: a man who believes he can live down his past by loving his constituency, inspiring them to be as confident as "gods," and providing them with unequaled niaterial and cultural riches.

Rouland, Roger. University of Texas Austin
"Spenser, Drayton, Solomon and the Act of Sacralizing Songs"
Edmund Spenser and Michael Drayton have been viewed as following similar Virgilian career paths progressing from pastoral to epic, and we know that the latter, a disciple of Spenser, modeled his pastoral Shepherd's Garland in part upon Spenser's Shepherd's Calendar. What has apparently been overlooked in comparing the careers of the two poets is a consideration of the pre-pastoral translations of both, which apparently include for each a translation of "Song of Songs." The particular praise awarded by one Drayton epistle, the implications of which this paper explores, suggests why the poet-prophet-king role of Solomon might be significant to both Spenser and Drayton. Drayton's epistle, both poets' interest in Solomon as a poet model, and Spenser's use of "Song of Songs" will also then be examined from the vantage point of Augustinian semiotics. The implications of this examination are several: there is a discernible and ongoing view by Spenser of Solomon as a poet role model, Drayton's admiration for Spenser's poem is focused on architectonics and the process of sacralizing the secular, and Augustinian poetics has a valid and useful place in understanding Spenser's career and semiotics.

Ryan, James. Dominican College
"The Symmetrical Structure of Coriolanus"

Salfen, Kevin. University of North Texas
"Mercenary or Heretic: Ludwig Senfl and his Relationship with Martin Luther"
Using a letter of commission from Martin Luther as its starting point, this paper examines the ways in which Ludwig Senfl was tied both to Catholicism through his employment at the court of Duke Wilhelm IV of Bavaria and to the Reformation through, among other things, his relationship with Luther. Senfl's importance as a composer of music for the Catholic church is examined in light of his contributions to Isaac's Choralis constantinus and through his own Proper cycle, En opus musicum festorum dierum. His importance as a composer for the early Lutheran movement is also evaluated by looking at early Protestant collections of music such as Georg Rhau's Neue deutsche geistliche Lieder. Having sketched an image of Senfl's importance to Catholicism and Protestantism, two different approaches to understanding the conflict of interests in Senfl's life are considered. The first follows the example of Pia Cuneo in his book on the painter Jörg Breu the Elder, who also worked for Wilhelm IV. This approach explores the image of a politically and religiously confused era in which it was desirable to be able to shift allegiance quickly from the Catholic to the Protestant side—that is, to be a mercenary. Then, a new approach is examined, comparing SenflÕs relationship to Catholicism and to Martin Luther to the shift in theology from the Catholic God to the Protestant one, from a faith serviced by clerical mediators to one owned by the individual believer. In evaluating the contribution of Senfl, the reason for composing becomes more significant than the way of composing.

Scheick, William J. University of Texas at Austin
"Animal Testimony in Renaissance Art: Angelic and Other Supernatural Visitations"
In Renaissance art the "gestured" testimony of animals is designed to verify the empirical authenticity of supernatural visitations. But if we double-back on the pathway of the official traffic of signification, we notice the obscured fact that creatures said to be entirely restricted to an anima defined by natural sensation and natural impulse have (somehow) responded to a supra-sensory phenomenon as if they possessed the requiste higher spiritual capacities of a rational soul. As agents of the official aesthetic and and doctrinal intention informing these pictures, as spatial pointers within their scenes, these creatures (like the talking animals of medieval legends) unofficially and unaccountably acquire human properties. Often these animals also exhibit a pose and an emotional response paralleling those of the transfixed saints in the same pictures. In ways unintended by the artists, both this "narrative" parallelism and their testimony on behalf of supernatural visitations implicitly interrogate the prevailing Renaissance construction of animals as creatures limited solely to sensation and natural impulse.

Skerpan-Wheeler, Elizabeth. Southwest Texas State University
"Read and Be Read: Areopagitica and the Anxiety of the Public Self"
In his early prose works, Milton explores the implications of his vision of verbal exchange. Such exchange is necessary because it is the manner in which the public citizen fulfills himself. It is dangerous because the self is also the expression of the image of God within and includes an immortal soul in need of saving. The self exists—and must exist—in exercise, but it also exists independently, so that exercise puts the self at risk. To participate in public, verbal exchange is to subject the self to hostile editing, a "reading" that is not entirely within one's control. This anxiety provides a subtext for Milton's justly most famous political tract Areopagitica.

Smetana, Zbynek. Murray State University
"Titian's Last Paintings Reconsidered as Psychological Pendants"
The presentation focuses on the Pietà, 1570-76, and the Flaying of Marsyas, 1570-76, which include Titian's self-portraits in the guise of narrative characters: St. Jerome in the Pietà, and King Midas in the Flaying of Marsyas. I hope to show that the complex self-examination is enhanced when the two works are considered together even though the Pietà and the Marsyas may seem thematically incongruous. I believe that (because of their dates) these works can be read as psychological pendants. I will also argue that their synergy is essential for better understanding of Titian's concerns in the last years of his life.

Spinrad, Phoebe. Ohio State University
"Marvell, Einstein, and Space-Time in 'To His Coy Mistress'"
lt has become a perennial critical exercise to seek out the logical fallacies and verbal sleight- of-hand in Andrew Marvell's "To His Coy Mistress," including the major fallacy in the very structure of the poem, an invalid and untrue hypothetical syllogism. In addition, controversies have raged (sometimes at this very conference) about whether the lady of the poem has been taken in by the tricks or whether she is even meant to be taken in by the tricks, rather than to participate in them as part of the "sport" of the final verse paragraph. But most critics do agree that "To His Coy Mistress" is the culmination of a long carpe diem tradition: if a game at all, then one in which, certainly, the reader is expected to participate, bringing to it all his or her knowledge of similar carpe diem poems. What 1 intend to do is to challenge even this assumption, and to do so by pointing out yet another fallacy in the structure of the poem, the lover's mapping of space and time. Remarkably, in this mid-17th-century poem, Marvell has anticipated by over 250 years Einstein's special theory of relativity, and if we examine the workings of space-time in "To His Coy Mistress," we may discover that, at least for some of the observers of what the lover is describinng, this is not a carpe diem poem at all, but a memento mori for the reader, one of a long tradition of such exercises—carpe diem imagery and all.

Stein, Beverly. California State University, Los Angeles
Jephthah's Daughter: A Female Jesuit Hero?
Of all religious orders of the Catholic Church, only the Jesuits maintain no parallel order for women. Despite the work of the Jesuits to advance the rights of many of the less privileged, including women, a certain attitude prevailed during the sixteenth and seventeenth centuries which was expressed in the many dramatic productions of the Society of Jesus.

The biblical story of Jephthah and his daughter was a popular theme among Jesuits, appearing often in their school productions because of its themes of obedience, chastity, and sacrifice. The most famous Jephthah setting is the oratorio of Giacomo Carissimi, maestro at the German College of Rome during the mid-seventeenth century. Although this work expresses expected Jesuit attitudes about obedience and the subordinate role of women, it nonetheless admits and even emphasizes a heroic and powerful aspect of the daughter's character by highlighting her transformation from a passive to an active and leading role.

I begin my discussion by exploring the character of Jephthah's daughter as presented in the original biblical story. Next I touch briefly on the history of Jesuit drama, observing, in particular, the standard role types of female characters as good mother, obedient daughter, or else religious martyr. Finally I will demonstrate how, while Carissimi's oratorio setting of the Jephthah story observes the traditional Catholic and particularly Jesuit views as to the appropriate role of women in society, it nevertheless significantly enhances her role from that in the Bible so that she is presented not only as an object of pity, but as someone with a commanding presence equal to that of her father the military leader; in other words, as a female Jesuit hero.

Sulak, Marcela. University of Texas at Austin
" The Role of Sephardic Women of the Portuguese Diaspora in Maintaining the Underground Jewish Faith 1492-1600"
This paper will examine Sephardic women«s participation in religious life in Coimbra, Portugal during and previous to the Inquisition. The Expulsion from Spain in 1492 changed not only the Jewish way of life, but also, to a large extent, the feminine way of life in the Jewish community. In some instances the roles of women and men with regard to the larger society around them actually reversed themselves, causing women to become liaisons of the Jewish community with a larger, Christian Portuguese population. This paper will also examine the roles Sephardic women played in the underground Jewish society through Inquisition records and naming customs.

Tassi, Marguerite. University of Nebraska at Kearney
"Subdued to the Aesthetic": Reading and Viewing Shakespeare after Vendler"
In writing about the speaker's infatuation with the Fair Youth, Helen Vendler reminds us that "Shakespeare was, after all, a man subdued to the aesthetic" (15). Vendler herself is of course subdued to the aesthetic, which is everywhere in evidence in her critical investigation into Shakespeare's artistry. About language and compositional strategy, she argues that "the 'true' actors in lyric are words, not 'drarnatic persons'; and the drama of any lyric is constituted by the successive entrances of new sets of words, or new stylistic arrangements .... the introduction of a new linguistic strategy is, in a sonnet, as interruptive and interesting as the entrance of a new character in a play" (3). Vendler's analogy to drama depends upon an important distinction; while the aesthetic qualities and "reality effect" of a sonnet depend entirely on words or "linguistic actions proper" issuing from one authorized voice, the experience of drama involves mimeses created by many actors who not only speak their texts, but in many ways, embody and enact them. In Shakespeare's drama, one certainly finds scenes in which words are the 'true' actors; yet often, the emotional tenor of a scene is conveyed through the interplay of difference voices and linguistic strategies, as well as the added dimension of accompanying embodied actions. What I wish to explore in this paper is how, in following Vendler's "art of seeing drama in linguistic actions proper," we can be led to understand that the aesthetic richness of a dramatic scene depends as much, if not more, on strategic changes in language as it does on performed actions to convey qualities of mind and heart. To do this, I will examine a number of strategic uses of painting tropes in the Sonnets and then look at a scene in Twelfth Night where the question of truthful representation of love is explored in an artful, nuanced dialogue that recalls Shakespeare's aesthetic preoccupations in the sonnets.

Terry, Allie. University of Chicago
"The Politics of Blocked Vision: The Veiling of Ritual Action and the Participation of the Viewer in Fra Angelico's Frescoes at San Marco, Florence"
Religious worshippers in Renaissance Florence were hardly ever allowed to view the ritual actions of the clergy during religious liturgies. Large architectural barriers between the nave and the altar prevented the laity from physically or visually accessing the most highly charged ritual space of the church: the altar within the sacristy. My paper explores how fifteenth-century Florentines found their own connections to liturgical rituals, despite their isolation within the nave of churches. Considering how this ritual experience in Dominican contexts became associated with the civic issues in the community at large, I then will suggest ways in which to reconsider conceptual blocks in the painted image. My point of departure will be Fra Angelico's frescoes in the Medici-sponsored spaces of San Marco. It is my hope that this analysis will forge new ground for exploring the connections between lay responses to ritual spaces and images, as well as offer an alternative interpretation of Fra Angelico's style based on what we know about blocked vision in other contexts.

Tinkler, Alan. University of Denver
" The Functioning of Time: Milton, the Reader, and the Persistent Present"
Milton's discourse on time, I propose, can be thought of in terms of a persistent present: a present where individuals must always be vigilant to insure that their liberties are not compromised and their ascension is assured. Milton compels individuals to be aware of threats against their liberty and salvation. While Milton never uses the construct, persistent present, it is useful in illuminating principal themes and tensions within MiltonÕs works, particularly since Milton is a strong advocate of individual reason. Since reason empowers choice, individuals are continuously free to choose, and the burden of choice is omnipresent, or persistent.

Troyer, Pamela. University of Denver
"Original Doubt: Curiosity, Slavation, Suspicion, and Sin in Paradise Lost"

Turrentine, Herbert C. Southern Methodist University (emeritus)
"William Leighton's Teares or Lamentacions of a Sorrowfull Soule: A Reflection of Musical Life and Publishing in the Jacobean Era"
After a brief overview of music publishing in England during the Elizabethan and Jacobean eras, the paper focuses on William Leighton's anthology Teares or Lamentacions of a Sorrowfull Soule (1614). The following elements are discussed: the unusual title page, the various dedications, influences upon the choice of title, and the types of works in the anthology. A compilation of biographical sketches of the contributing composers, which indicates their specific works in the anthology, is included in the presentation.

Wadia, Mickey. Austin Peay State University
"Stew'd in Corruption: Images of Venereal Disease in Shakespeare"
Research into Shakespeare's medical and disease imagery patterns reveals that Shakespeare alludes more often to venereal disease than to any other illness. The numerous images related to syphilis also reflect Shakespeare's amazingly detailed knowledge of contemporary signs and symptoms of the malady as weil as methods for treating the disease. A study of Shakespeare's syphilis metaphors presents some valuable insights into the plays in which they appear. Further, the images are frequentiy associated with individuals who have knowingiy or unwittingly allowed their passion to usurp their reason. This dimension is singularly important in the plays—because it suggests a lapse or erosion in the ideas inherent in the popular Renaissance dictum of nosce teipsum ("know thyself"), which served as an abiding maxim for the thoughtful Elizabethan.

Wann, Jack. Northwestern State University, Louisiana
"Coming to Terms with Acting in Verse and Using the Antiquated Words, Phrases and Verse Forms of William Shakespeare"
"Coming to Terms with Actng in Verse and Using the Antiquated Words, Phrases and Verse Forms of William Shakespeare" will address, in straiightforward terms, the problems teachers, directors and actors of Shakespeare encounter and overeome to have happy "maiden voyages" into the world of the greatest dramatist in the English language. This world can prove formidable and daunting, but this talk supports the notion that simple maps and guides can make this "Shakesperience" not only accessible, but joyful and rewarding.

Wolffe, Lisa. Northwestern State University, Louisiana
"Even the Evil have Friends"
In tragedies, one finds both true friends and false friends and, sometimes, a true, friend who turns out to have the same effect on the protagonist's life, as a false one. A false friend can make a good person do something evil which precipitates the tragedy. An evil person can also have friends who, although true to their evil friend, by their actions cause their friend's destruction. They remain loyal to their friend's goal and thus an evil person's true friends often encourage him or her to continue down the path which leads to damnation.

Wolters, Wendy. Ohio State University
"Dressing for Success: Clothing Imagery in Shakespeare's Hamlet"
Polonius advises his son in the first act of William Shakespeare's Hamlet that "the apparel oft proclaims the man," and he does not know how right he is (1.3.72). He creates an image of clothing that conflicts with the image Hamlet has established in the preceding scene, and he puts a powerful plot device into motion. In Hamlet, the intricate use of clothing imagery helps to convey Shakespeare's larger theme of "seems versus is." Each of the conflicts within the play is reinforced by clothing imagery. The theme of what "is" versus what "seems" to be unfolds in the discussions of clothing by Hamlet and Polonius, and extends into the conflicts operating between Polonius and his children, between Hamlet and Claudius, and within Hanilet's own moral dilemma. Even our response to the character of the ghost, which is so involved in Hamlet's moral dilemma, is affected by the use of clothing imagery. Following the thread of clothing imagery through the play provides us with insight into the complexity of Shakespeare's theme and an understanding of the ways that questions of authenticity operate at both broad and very individual levels.

Zalloua, Zahi. Princeton University
"Sameness and Difference: Portraying the Other in Montaigne's Essays 'Of Friendship' and 'Of Cannibals'"
In his two well-known essays "Of Friendship" and "Of Cannibals," Montaigne's project of self-exploration is textually supplemented by an exploration of the other: his perfect friend, Etienne de La Boetie (the intimate other), and the Brazilian Cannibal (the radical other). Consequently, the double objective of both essays makes the author's search for self-understanding inseparable from the questions: "Who is La Boetie?" and "Who are the Cannibals?"-or rather, "Who are they for Montaigne?" Formulating the question this way underscores the importance of the subject of representation (Montaigne the essayist) in relation to the object represented (La Boetie and the Cannibals). The aim of this paper is twofold: to elucidate Montaigne's portrait(s) of the other by examining how the essayist operates, at once, from "within" and "outside" the dominant humanist discourse of the late Renaissance, and to explore the ethical implications of Montaigne's essayistic writing of (about) the other's difference.