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 15
... allow him to exploit , for instance , a never - before - heard musical timbre halfway between an oboe's and violin's . Rejecting such ' freedom ' , the elderly but still innovative Stravinsky made a parting remark to the machine's ...
... allow him to exploit , for instance , a never - before - heard musical timbre halfway between an oboe's and violin's . Rejecting such ' freedom ' , the elderly but still innovative Stravinsky made a parting remark to the machine's ...
Page 70
... allow educative projections lie near the border of the omnipo- tent perversities of projection like those we have noted in Leontes ' couvade breakdown.62 The statue scene therefore has to portray the pain required for Segal's ...
... allow educative projections lie near the border of the omnipo- tent perversities of projection like those we have noted in Leontes ' couvade breakdown.62 The statue scene therefore has to portray the pain required for Segal's ...
Page 239
... allow , the potential in nature and within his own heart . 66 Mendelsohn , 1982 , p . 92 . 67 See Michelangelo , 1986 , pp . 76–7 . 68 Mendelsohn , 1982 , p . 162 . 69 Such apparent necromancy may even resemble the raising of the suc ...
... allow , the potential in nature and within his own heart . 66 Mendelsohn , 1982 , p . 92 . 67 See Michelangelo , 1986 , pp . 76–7 . 68 Mendelsohn , 1982 , p . 162 . 69 Such apparent necromancy may even resemble the raising of the suc ...
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