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. |
From inside the book
Results 1-3 of 16
Page 17
... merely visual and verbal – i.e. , as if those two categories exclusively defined the means by which he works on us – and , even more , if we speak as if his visual and verbal languages merely duplicated each other i.e. , as if the words ...
... merely visual and verbal – i.e. , as if those two categories exclusively defined the means by which he works on us – and , even more , if we speak as if his visual and verbal languages merely duplicated each other i.e. , as if the words ...
Page 28
... merely dramaturgic conveniences . They exem- plify rather how The Winter's Tale obtrusively plays upon the more improbable or extreme edges of acceptable dramatic structures and ' standards of truth ' . This play's success in the ...
... merely dramaturgic conveniences . They exem- plify rather how The Winter's Tale obtrusively plays upon the more improbable or extreme edges of acceptable dramatic structures and ' standards of truth ' . This play's success in the ...
Page 58
... merely at the raw ' delineation of the human face ' , 15 and that English Renaissance portraiture generally offered only ' a representation of the individual from which all individuality other than the mere facial features had been ...
... merely at the raw ' delineation of the human face ' , 15 and that English Renaissance portraiture generally offered only ' a representation of the individual from which all individuality other than the mere facial features had been ...
Contents
Aesthetic codes and Renaissance concepts | 10 |
Shakespeares portrait of the individual | 31 |
metamorphic | 55 |
Copyright | |
4 other sections not shown
Other editions - View all
Common terms and phrases
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