Summary

The English language contains a plethora of words denoting and connoting material production – designations of Man as maker: Making, creating, fashioning, forging, fabricating, producing, generating, manufacturing, and so on. This catalogue of relative synonyms has, however, radical historical and internal differences of valence and meaning and surrounds the Early Modern nomenclature of “making” with unstable and ambiguous significations. As a phenomenon too frequently taken for granted in narratives of material and visual culture, “making” makes up a nexus of multiple and polysemous tensions in Early Modern language and thought. I intend in this paper to engage with the construction of “making” as a category embedded within theological discourses of “real” and “fake”, “truth” and “falsehood”, in the Calvinist environment of Early Modern England. Using the Reformation disputes on religious imagery and representation, and how these make use of the Old Testament imagery of Creation as a case in question – personified in discourse by figures such as William Perkins and John Jewel which will be at centre of this paper – I will especially seek to elucidate how the religious visual topography became a space for contention and negotiation, of anxieties related to fact and fiction, truth and falsehood.

概括

英语中包含大量表示和暗示材料生产的词——将人称为制造者：制造、创造、时尚、锻造、制造、生产、生成、制造等等。然而，这个相对同义词目录在价和意义方面具有根本的历史和内部差异，并且围绕着早期现代的“制造”命名法，其含义不稳定和模棱两可。作为一种在物质和视觉文化叙事中经常被视为理所当然的现象，“制造”构成了早期现代语言和思想中多重和多义张力的联系。在本文中，我打算在早期现代英格兰的加尔文主义环境中，将“制造”构建为嵌入“真实”和“虚假”、“真理”和“虚假”的神学话语中的一个类别。