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 14
... late plays would not be just external . It will be argued that the strange ' dramatic worlds'21 which these plays draw us into contain , in concentrated form , the same dynamics of interaction , nuances of character and indeed ...
... late plays would not be just external . It will be argued that the strange ' dramatic worlds'21 which these plays draw us into contain , in concentrated form , the same dynamics of interaction , nuances of character and indeed ...
Page 28
... late style and Giulio's share a propen- sity to play upon archaic expressive modes . Giulio was for this reason , according to Pietro Aretino , ' anciently modern and mod- ernly ancient ' , 88 an excellent description also of the late ...
... late style and Giulio's share a propen- sity to play upon archaic expressive modes . Giulio was for this reason , according to Pietro Aretino , ' anciently modern and mod- ernly ancient ' , 88 an excellent description also of the late ...
Page 58
... late Shakespeare , and that it was no accident that he represented versions of the popular Southwark trades of effigy - making , the exhibition of bears , and theatrical rep- resentation side by side in The Winter's Tale . 15 The poor ...
... late Shakespeare , and that it was no accident that he represented versions of the popular Southwark trades of effigy - making , the exhibition of bears , and theatrical rep- resentation side by side in The Winter's Tale . 15 The poor ...
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