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
... interest in time - as - opportunity as implying that secular ' man can no longer simply dismiss temporality for the sake of contemplation'.27 In a later discussion of Hermione's ' magic ' statue I will extend this position to claim that ...
... interest in time - as - opportunity as implying that secular ' man can no longer simply dismiss temporality for the sake of contemplation'.27 In a later discussion of Hermione's ' magic ' statue I will extend this position to claim that ...
Page 113
... interest in portraying individuals at all , no less ' individual minds at moments of intensity ' . But there is no doubt that the powerful depiction of individuals was a notable achievement of late Renaissance portraiture in Italy ...
... interest in portraying individuals at all , no less ' individual minds at moments of intensity ' . But there is no doubt that the powerful depiction of individuals was a notable achievement of late Renaissance portraiture in Italy ...
Page 117
... interest and community rights of sexual surveillance were accepted to a degree we can barely imagine . Perhaps accordingly , the repeated comments on Perdita's exceptional beauty in The Winter's Tale are all associated with interest ...
... interest and community rights of sexual surveillance were accepted to a degree we can barely imagine . Perhaps accordingly , the repeated comments on Perdita's exceptional beauty in The Winter's Tale are all associated with interest ...
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