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 38
... appears in Biblical contexts it is translated as God - given ' seasons ' , ' occasions ' or ' opportunities'.26 Incarnation is the infinite model for the occasion of the intersection of the timeless with time ; transcendence and ...
... appears in Biblical contexts it is translated as God - given ' seasons ' , ' occasions ' or ' opportunities'.26 Incarnation is the infinite model for the occasion of the intersection of the timeless with time ; transcendence and ...
Page 75
... appears to me too close in detail to be other than a source for Truewit's mock praise . " As secretive feminine artifices , use of cos- metics , eyebrow drawing , a painted statue for use in the theatre , and a statue of ' Venus ' also ...
... appears to me too close in detail to be other than a source for Truewit's mock praise . " As secretive feminine artifices , use of cos- metics , eyebrow drawing , a painted statue for use in the theatre , and a statue of ' Venus ' also ...
Page 117
... appear , and only evil or suspect characters dissemble . Pericles never takes on dis- guises , even when he flees Antiochus's murderous wrath'.3 How different this is from The Winter's Tale , which is full of deliberate disguising and ...
... appear , and only evil or suspect characters dissemble . Pericles never takes on dis- guises , even when he flees Antiochus's murderous wrath'.3 How different this is from The Winter's Tale , which is full of deliberate disguising and ...
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