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 27
... living subject . Psychoanalytic theory alone , as opposed to practice , cannot yield understanding of any particular person , even a fictional one . But then , clearly , psychoanalytical practice cannot properly be applied to a ...
... living subject . Psychoanalytic theory alone , as opposed to practice , cannot yield understanding of any particular person , even a fictional one . But then , clearly , psychoanalytical practice cannot properly be applied to a ...
Page 40
... living subject , not an obdurate object of desire and frustration . This contemplation transforms his formerly expressed memory of an outwardly cold girl to one of a young woman possessed of her own inner ' warm life ' . When Leontes ...
... living subject , not an obdurate object of desire and frustration . This contemplation transforms his formerly expressed memory of an outwardly cold girl to one of a young woman possessed of her own inner ' warm life ' . When Leontes ...
Page 82
... living face paradoxically represent a lifelike artwork , closely parallels the way in which a living actor represents the artistic ' statue ' in The Winter's Tale . In The Second Maiden's Tragedy the Tyrant is so delighted with the ...
... living face paradoxically represent a lifelike artwork , closely parallels the way in which a living actor represents the artistic ' statue ' in The Winter's Tale . In The Second Maiden's Tragedy the Tyrant is so delighted with the ...
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