Titlebook: Vision and Audience in Medieval Drama; A Study of The Castl Andrea Louise Young Book 2015 The Editor(s) (if applicable) and The Author(s) 2

Tremor

The End of Play and the Gaze of God,is vital in making work the rest of the play’s teaching on vision. First, these scenes take the audience members through a final period of visual “adjustment.” The refiguring of the castle of perseverance into a castle of covetousness makes even more prominent the argument that higher and lower real

DOSE

Vision, Visuality, and the Audience, a process that can be interrupted, hindering an ideal outcome. Newhauser has written that “to ask epistemological questions in (and of) the Middle Ages and the Renaissance is to query the senses.”. He also notes that:

GORGE

Staging ,,e of the actual landscape of the world, it is not of practical use to travelers. Rather, it is an example of the medieval way of thinking about the world in general. The map reader had numerous points of reference—universal, local, some classical, some biblical, some past, present, future, but all e

Adherent

prosperity

Vision and Visuality: The Battle of the Banners, made East Anglia so prosperous—the play appears to acknowledge both social and individual piety. The play uses visuality to teach about vision, culminating in the central siege on the castle, which I propose renaming the “battle of the banners.”

GORGE

The End of Play and the Gaze of God,form of punishment, and actively inviting a merciful gaze from others. The narrative of the play again makes the audience members succumb to the “kind of higher determinism, to which the executioner-tormenter himself is subjected and which he must be determined to endure when the time comes,” and wh

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