Gillian Woods. Unreformed Fictions. Oxford: Oxford University Press, 2013. Pp. xi + 239. $110.00. The title of Gillian Woods's impressive new book, Unreformed Fictions, contains its central argument compressed form. Woods uses the word to describe the seemingly phrases, motifs, Latin tags, story lines, objects, and visual images that percolate through both early modern English culture and plays. This apparently Catholic material--the first example Woods gives is the ubiquitous phrase th'mass--could, and indeed often did, function an unreformed manner, without denoting straightforwardly theology (4). interest the unreformed, Woods argues, is primarily artistic and literary rather than theological--hence the word fiction her title. Taking seriously that Shakespeare's works ... are primarily stories rather than polemics (20), Woods traces manipulation of unreformed material along the chains of created by deeply concerned with the ethical and aesthetic ramifications of playing. As it reconnect[s] historical understanding of post-Reformation culture to the aesthetic and theatrical experience of the plays (21), the book provides rich, nuanced cultural analysis, and welcome intervention recent studies religion post-Reformation England. In each chapter Woods identifies (22) raised by encounter with unreformed material. The first chapter argues that 1 Henry IV asks how history play remembers the pre-Reformation past (23), demonstrating that although the play projects the Reformation binary of and Protestant backwards onto the figures of Joan of Arc and Talbot, it also suggests that such oppositional thinking is ultimately unsustainable (55). Here Woods links the theatrical re-presenting of history to sixteenth-century Eucharistic theology: the body of the actor playing is highlighting the absence of the 'real presence' of Talbot and so associating the phenomenological effects of theater with Protestant Eucharist that was a divinely instituted memorial, not repeated sacrifice (48). Though this first chapter is suggestive, the potential of Woods's approach is more fully realized the book's second chapter, on Love's Labour's Lost. Here Woods associates the topical constellation of (60) that refer to politico-religious controversies 1590s France with the slipperiness of created by the punning, wordplay, vow making and breaking, poetry writing, and witty repartee that is this play's most obvious feature. As critics have long noted, the name Navarre is reference to Henri IV of France--an association strengthened, in case we miss the point (59), by Berowne, Longaville, Dumaine, and Boyet, all names of men who were followers of the historical Navarre. Woods argues that Navarre, the heroic Protestant leader who notoriously converted to Catholicism 1593, represented person who had changed and person who was change itself (71); play, the conversion of converts name to comic role sets up (paradoxically) chain of dislocations (69), so that sectarian conflict and changeability are identified with linguistic slipperiness and generic incongruity. Shakespeare--playfully yet also seriously--puts fractured and ironic representation of the ... convert play where language and signs constantly mislead (71). The unreformed onomastics serve to enlarge the dramas broader linguistic concerns about the slipperiness of meaning (75). Whereas chapter 2 the unreformed material is topical, chapter 3, on Measure for Measure and All's Well that Ends Well, it is explicitly theatrical. The representational problem considered here is the seeming of the Catholic-costumed characters these plays: the Duke his Friars cloak, Isabella dressed (possibly) as novitiate, Helen her pilgrim's robes. …
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