Cultural Creativity in the Early English Renaissance: by Elisabeth Salter (auth.)

By Elisabeth Salter (auth.)

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This is a last will and testament, made in 1516, by a man called John Aunsell, a merchant tailor and citizen of London, dwelling in Southwark. This particular text is taken because it provides useful illustrations for all the theoretical terms I wish to explain. It is a particularly interesting will text, but this is not to say that it is abnormal in any way. Its formulaic structure, the requests made, and the bequests given, are all entirely conventional. 20 S. Elisabeth, Cultural Creativity in the Early English Renaissance © Elisabeth Salter 2006 Reconstructing Perception and Experience II: Vocabularies 21 All the terms described in the first sections of this chapter contribute to the understanding of what is meant by ‘cultural creativity’.

But there is also a recurrence of the name John in Aunsell’s extended family. Both of Aunsell’s two brothers (Richard and William) have sons called John and these are almost certainly the eldest son in each case, as they are mentioned first in the list of bequests given to the sons of each brother. It is probable that our John Aunsell was also the eldest child. 8 So, while the name John is used by Aunsell as part of his own method of relating his own identity to a range of symbolic cultural references, the importance of this name to his extended family also helps to illustrate the ways that 32 Cultural Creativity in the Early English Renaissance associations with family members (through name) were important elements of an individual’s identity in this period.

It is a particularly interesting will text, but this is not to say that it is abnormal in any way. Its formulaic structure, the requests made, and the bequests given, are all entirely conventional. 20 S. Elisabeth, Cultural Creativity in the Early English Renaissance © Elisabeth Salter 2006 Reconstructing Perception and Experience II: Vocabularies 21 All the terms described in the first sections of this chapter contribute to the understanding of what is meant by ‘cultural creativity’. The approaches and abstract concepts discussed here arise from various disciplines, and they constitute what might seem an eclectic array.

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