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 35
... emotional complex when , threatened with frustration of his plan to use Camillo in a family ploy , he spitefully repudiates the benefits he formerly received from him . Thus he petulantly says to Camillo , to whom he owes his life ...
... emotional complex when , threatened with frustration of his plan to use Camillo in a family ploy , he spitefully repudiates the benefits he formerly received from him . Thus he petulantly says to Camillo , to whom he owes his life ...
Page 68
... emotions when they are found together . Thus it suggests that the expression of naturally ambiguous or mixed emotions is aesthetically desirable . Wotton's implicit praise of the capability of art to express com- plex emotional states ...
... emotions when they are found together . Thus it suggests that the expression of naturally ambiguous or mixed emotions is aesthetically desirable . Wotton's implicit praise of the capability of art to express com- plex emotional states ...
Page 72
... emotional Neighbors and Consiners in Arte . Because he seeks paradox . he cannot see paradox , and so insists that there must be the extremity of the one only of the opposite emotions in the mixed passion he has seen . The Third ...
... emotional Neighbors and Consiners in Arte . Because he seeks paradox . he cannot see paradox , and so insists that there must be the extremity of the one only of the opposite emotions in the mixed passion he has seen . The Third ...
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