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This article explores an oddly dependent relationship between censorship and confession. Comparing the way that Shakespeare's fictional villainous moor, Aaron, confesses his crimes to the confessions of real-life villains like the Earl of Essex or, more recently, Ian Brady, Myra Hindley, Fred and Rosemary West, reveals an odd relationship of trust between the confessant and their audience who need to hear what they have to say. The relationship challenges previous assessments of trust expressed by Foucault and Beckwith. The act of censorship, as palpable for Aaron as it was for Ian Brady, highlights the limits of that trust and how vulnerable we really are to violent acts of articulation.
|Title of host publication
|Freedom and Censorship in Early Modern English Literature
|Number of pages
|Place of publication
|22 Oct 2018
|Published - 22 Oct 2018
|Routledge Studies in Renaissance Literature and Culture
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- 1 Lecture and oral contribution
Joseph William Sterrett (Lecturer)30 Nov 2016 → 4 Dec 2016
Activity: Talk or presentation types › Lecture and oral contribution