Illustrations

Acknowledgments

Introduction

A Note on Editions, Translations, and Abbreviations

Chapter One

The Romance Globe: Why the Renaissance Repainted Greek Romance

Chapter Two

Converso Convertida: Cross-dressed Narration and Ekphrastic Interpretation in Leucippe and Clitophon and Clareo y Florisea

Chapter Three

Amazon Eyes and Shifting Emblems in Sidney's Greek Arcadia

Chapter Four

Painting Counterfeit Canvases: Heliodoran Pictographs, American Lienzos, and European Imaginings of the Barbarian in Cervantes' Persiles

Chapter Five

Pictura Locorum: Heliodoran Hieroglyphs and Anglo-African Identity in Barclay's Argenis

Chapter Six

“We are all picturd in that Piece”: Lovers, Persians, Tartars, and the “Tottering” Romance Globe in Lady Mary Wroth's Urania

Conclusions

Works Cited

About the Author

Elizabeth B. Bearden is an assistant professor of English and Comparative Literature at the University of Maryland, College Park.

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About the Author