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 145
... aside in which he first mentions his scheme for using the lovers as a means to his end ( 509–14 ) , Camillo half denies that his aims and theirs cannot coincide . He claims that he intends ' to serve my turn ' at the same time as ' save ...
... aside in which he first mentions his scheme for using the lovers as a means to his end ( 509–14 ) , Camillo half denies that his aims and theirs cannot coincide . He claims that he intends ' to serve my turn ' at the same time as ' save ...
Page 146
... aside ( I , ii , 216–20 ) , how deeply the rancour runs at court when Camillo gingerly fans an ember of scan- dal , observing to Leontes that Polixenes ' would not stay at your petitions ; made / His business more material ' ( I , ii ...
... aside ( I , ii , 216–20 ) , how deeply the rancour runs at court when Camillo gingerly fans an ember of scan- dal , observing to Leontes that Polixenes ' would not stay at your petitions ; made / His business more material ' ( I , ii ...
Page 247
... asides spoken to Mamillius and others , noted above , but he has far fewer lines of distinct aside or soliloquy . 32 For instance as a ' foil ' for good Camillo , as in Peterson , 1973 , or as a challenge to good art as in Livingston ...
... asides spoken to Mamillius and others , noted above , but he has far fewer lines of distinct aside or soliloquy . 32 For instance as a ' foil ' for good Camillo , as in Peterson , 1973 , or as a challenge to good art as in Livingston ...
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