Art and Illusion in The Winter's TaleManchester University Press, 1994 - 283 pages This work treats a single Shakespeare play from a number of perspectives. The author combines insights from contemporary psychology with art, social and stage histories to challenge the limits of current positivist critical theories. The book also has a central theme: how the dark side of art and illusion must be represented in order to establish the redemptive pattern which The Winter's Tale shares with Shakespeare's other late tragi-comedies. |
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Page 86
... Giulio Romano was never a sculptor , although he did collect sculpture , " used it in his architecture , and often depicted it in drawings and designs . We must wonder just how informed Shakespeare was about Giulio's art . Could he have ...
... Giulio Romano was never a sculptor , although he did collect sculpture , " used it in his architecture , and often depicted it in drawings and designs . We must wonder just how informed Shakespeare was about Giulio's art . Could he have ...
Page 97
... Giulio Romano himself , to which Shakespeare may have been alluding . A Papal stufetta A brief review of Giulio Romano's career and artistic development is in order . He began his eminence as Raphael's prime assistant in Rome . He later ...
... Giulio Romano himself , to which Shakespeare may have been alluding . A Papal stufetta A brief review of Giulio Romano's career and artistic development is in order . He began his eminence as Raphael's prime assistant in Rome . He later ...
Page 258
... Giulio Romano , Court Architect , Painter and Impresario . ' Splendours of the Gonzaga : Catalogue . Ed . David Cham- bers and Jane Martineau . London , 1981. 77–85 . The Image and the Eye . Oxford , 1982 . New Light on Old Masters ...
... Giulio Romano , Court Architect , Painter and Impresario . ' Splendours of the Gonzaga : Catalogue . Ed . David Cham- bers and Jane Martineau . London , 1981. 77–85 . The Image and the Eye . Oxford , 1982 . New Light on Old Masters ...
Contents
Aesthetic codes and Renaissance concepts | 10 |
Shakespeares portrait of the individual | 31 |
metamorphic | 55 |
Copyright | |
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accept according actual appears Aretino argued artistic audience Autolycus bear become believe called Camillo chapter character claim colour complex concerning connection consider course court courtiers critics death described desire discussed effect emotional England English especially evidence expressed feelings figure Flora Florizel flowers Giulio Giulio Romano gives Gombrich hand Hermione Hermione's historical holds human idea imagination important instance interest interpretation Italian Italy John kind King knowledge late later Leontes less living marriage meaning mind nature offers original painted particular Paulina's Perdita perhaps play play's Polixenes possible present psychological question reading references relation Renaissance represented role says scene seems seen sexual Shake Shakespeare's shows similar social soliloquy sort specific statue stone studies suggest symbolic theatrical theory tion tradition visual Winter's Tale witchcraft witches writers