... in Seeing and Writing the Heathen Shankar Raman Massachusetts Institute of Technology Cambridge, Massachusetts Plurality is the condition of human action because we are all the same...

... project. © 2011 by Duke University Press 2011 a Allegory and Difference in Ralegh and De Bry: Reading and Seeing the Discoverie Dennis Austin Britton...

... . Boccaccio and Sacchetti provide more than just anecdotal bric-a-brac to Vasari and his fellow Renaissance art theorists. Both authors identify the painter’s labor as a central problem for aesthetic theories of painting. In contrast to Boccaccio, Sacchetti sees no contradiction between the daily realities...

...Adam Herring This article examines vision and cultural authority among the leadership of the Inca Empire of Andean South America. In Inca political society, seeing was cultural being. The essay addresses the spaces in which Inca acts of perception took place, as well as the architectural frameworks...

... of the executions of four priests: Edmund Campion and Alexander Brian in 1581, Edmund Geninges in 1591, and Robert Southwell in 1595. In the narratives of these deaths, we can see how English Reformations not only occasioned new relic-making by English Catholics, but also, paradoxically, resulted in relic cults...

... sense he himself is the forest. Both the eponymous king Perceforest and his great-nephew and heir Gallafur experience dream visions in which their subjectivities appear in vegetal form: Perceforest's depressive mental state manifests itself as an overgrown forest landscape, while Gallafur sees his body...

... history to encompass material practices that persisted across the medieval-early modern divide, we find in English book culture a deeper tradition of “craft” textualities than modern catalogs and bibliographic protocols permit us to see. This essay traces the spread of needlework in books from basic...

...Valeria Finucci In 1543 Andreas Vesalius published his landmark work of anatomy, On the Fabric of the Human Body , which delved inside the human body to see what made it work. Vesalius’s illustrations of body parts were based on what could be seen with the eyes through the practice of dissection...

... of Christians conquering and converting nonbelievers rather than each other. By attending to the generic association of such texts with other forms, including the captivity narrative, epic, and drama, we not only can better grasp early modern categories of thought but also can see how crusading concepts...

... Shakespeare uses elsewhere) to “see,” “discover,” “know,” or “pluck out” mystery? The mystery of things seems here to beckon God’s spies not toward acts of apprehension but rather toward an act of assumption. This essay seeks to make sense of Shakespeare’s language of assumption by looking to a cluster...

... into the picture and to see what avenues might be opened as a result. Articles explore what happens to ancient and medieval habits, practices, and conceptualizations of virtue and the virtue tradition resulting from the complex reorganizations of ritual, sacramental, ecclesiological, theological, and ethical...

... imperatives and was likely designed to idealize his posture as a social satirist and sum up the ambitions of his life's work. This essay adds another dimension to understanding this memorial image, reading the archer through a technical figure of mathematical astronomy. Seeing in the illustration a silhouette...

..., in relationship to a number of contemporary works, including Lollard writings, Stephen Hawes's The Conversion of the Swearers , the anonymous The Passion of Christ , and A sermon concernynge certayne heretickes by John Fisher. Within this context, it is possible to see that Tyndale was not a Lollard, and yet his...

... grammar of “serve and deserve.” The article argues that when Langland has his narrator questioned by Reason and asked, “Can you serve?” Langland understands the question, like Luther, in the broadest theological and ethical sense. The article attends in detail to conventional readings that see...

... 10.1215/10829636-2830064  © 2015 by Duke University Press the Modena polyptych appears at first glance to depict unremarkable scenes of domestic life in fifteenth-­century Italy (see fig. 1).9 The composition is divided by the architecture into four quadrants. At the bottom left, closest...

... have identified the book quite straightforwardly, has been erased in this copy, leaving only the printer’s mark clearly visible (see fig. 1).12 The leaf bearing the colophon (fol. 239r) is then followed by thirty leaves of manuscript, in a hand that superficially resembles the type- face...

... of the Boke of Curtesy and the first two lines of the Latin weather prognostications that follow directly upon it — and its rather improvisa- tional air together give the impression of something noted down out of pass- ing interest (see fig. 1). But the fact that the poem was instead a planned entry...

... 37:6 appears revised as follows (see fig. 1): Fore saeth to be thow on the 6 ^ He commandeth ^ the snow, and it falleth ^ vpon earth: || hee giueth the raine a charge, and || likewise to the small raine the showres haue their strength and fall downe. & to the great...

..., namely, the idea that only God was truly situated to understand the motivation and intention behind human acts: “Oure werkis may men see; bot whi we doe thaim and whidere we thynk in doand thaim, anly god sees.” 1 While a person's acts were visible for all the world to see, a person's innermost...

..., Grace teaches such love that those with “moest maistries [powers; skills]” are most humble (XXI.213  –  55).9 Grace orders the crowning of Conscience as king and makes Piers the plowman his “procuratour” [steward] to receive people’s debts in the new covenant (XXI.256  –  61; see XXI.182...