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 144
... becomes the impresario of the meta - theatrical ' play ' in which Perdita will take a ' part ' . It is notable that the second , deceptive , disguising of Perdita does not inspire her to express further doubts about artifice , although ...
... becomes the impresario of the meta - theatrical ' play ' in which Perdita will take a ' part ' . It is notable that the second , deceptive , disguising of Perdita does not inspire her to express further doubts about artifice , although ...
Page 151
... becomes the butt of public ridicule when Paulina overrides him and he has to admit , equivocally , ' When she will take the rein I let her run'.28 In favour of femininity , the humour of survival surrounds Paulina's peremptory behaviour ...
... becomes the butt of public ridicule when Paulina overrides him and he has to admit , equivocally , ' When she will take the rein I let her run'.28 In favour of femininity , the humour of survival surrounds Paulina's peremptory behaviour ...
Page 186
... become types of the ' patient ' man , which has little if any dramatic support . Peterson's over- attention to emblem book images leads to the imposition on The Win- ter's Tale of a system of moralistic oppositions in which Camillo becomes ...
... become types of the ' patient ' man , which has little if any dramatic support . Peterson's over- attention to emblem book images leads to the imposition on The Win- ter's Tale of a system of moralistic oppositions in which Camillo becomes ...
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