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 88
... courtiers and connoisseurs like those in Prince Henry's voguish circle . Many of this circle no doubt attended Jonson's masque Oberon , the Fairy Prince on 1 January 1611.17 According to Richard Hosley , this masque ' presumably ...
... courtiers and connoisseurs like those in Prince Henry's voguish circle . Many of this circle no doubt attended Jonson's masque Oberon , the Fairy Prince on 1 January 1611.17 According to Richard Hosley , this masque ' presumably ...
Page 89
... courtiers . For , as almost all writers agree , The Winter's Tale finally presents the statue they extol not as a work of art at all , nor as a magical means to resurrection , but as a fraudulent mimetic performance enacted by the ...
... courtiers . For , as almost all writers agree , The Winter's Tale finally presents the statue they extol not as a work of art at all , nor as a magical means to resurrection , but as a fraudulent mimetic performance enacted by the ...
Page 93
... courtiers seem to praise the artist and his work in pro- portion to the length of time they are unable to see them . The psychological process is ' the less known the more assumed ' about both the artist and the artwork kept ' Lonely ...
... courtiers seem to praise the artist and his work in pro- portion to the length of time they are unable to see them . The psychological process is ' the less known the more assumed ' about both the artist and the artwork kept ' Lonely ...
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