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He concludes this illuminating chapter by examining "female characters as they become earwitnesses to male rumors" and other acts of linguistic dissimilation in Cymbeline and All's Well That Ends Well (24).
Botelho's Renaissance Earwitnesses effectively challenges literary and cultural assumptions about the gendering of the tongue and ear and deserves a sound hearing within its larger context of sensory culture.
In a convincing exegesis, the author argues that Marlowe's training in the university curriculum of "disputations" and debate was the kind of education designed to produce earwitnesses.