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 51
... knowledge and unconscious guilt . Leontes , I would suggest , has suppressed the knowledge he possesses that he has projected poison of his own making into Hermione – that he is the spider.69 The rapidity with which he sees the truth ...
... knowledge and unconscious guilt . Leontes , I would suggest , has suppressed the knowledge he possesses that he has projected poison of his own making into Hermione – that he is the spider.69 The rapidity with which he sees the truth ...
Page 69
... knowledge of other persons must come from a projection of the self . René Girard thus holds , with reference to Leontes espe- cially , that , ' to Shakespeare it goes without saying that we not only misunderstand , but understand ...
... knowledge of other persons must come from a projection of the self . René Girard thus holds , with reference to Leontes espe- cially , that , ' to Shakespeare it goes without saying that we not only misunderstand , but understand ...
Page 96
... knowledge of the historical Giulio's life and work , he would have known that he neither was a sculptor nor had many chances for working in private . Through much of his career Giulio was not placed to demand the privacy and autonomy of ...
... knowledge of the historical Giulio's life and work , he would have known that he neither was a sculptor nor had many chances for working in private . Through much of his career Giulio was not placed to demand the privacy and autonomy of ...
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