This essay argues that the material invocation of Ovid's Metamorphoses in The Most Lamentable Roman Tragedie of Titus Andronicus (c. 1594) initiates an interrogation of the cultural politics of translation in early modern England. By comparing Shakespeare's play with Edward Ravenscroft's seventeenth‐century revision, Titus Andronicus, or the Rape of Lavinia (first performed 1678, first published 1687), the discussion focuses on ways in which the processes and products of translation construct the gendered subject.

In this Introduction to a special section on Visualising Surfaces, Surfacing Vision, we argue that to conceive vision in the contemporary world it is necessary to examine its embedding within, expression via and organisation on the surface. First, we review recent social and cultural theories to demonstrate how and why an attention to surfaces is salient today. Second, we consider how vision may be understood in terms of surfaces, discussing the emergence of the term 'surface', and its transhistorical relationship with vision. Third, we introduce the contributions to the special section, which cover written articles and artworks. We make connections between them, including their exploration of reflexivity and recursion, observation, objectivity and agency, ontology and epistemology, relationality, process, and twoand three-dimensionality. Fourth, we consider some implications of an understanding of visualising surfaces/surfacing vision.

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