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 22
... painting over sculp- ture because painting is more intellectual and noble ( and less of a physical exercise ) than sculpture . Leonardo also stated ' mancha la scultura della bellezza de'colori ' , " an assumption that we will later ...
... painting over sculp- ture because painting is more intellectual and noble ( and less of a physical exercise ) than sculpture . Leonardo also stated ' mancha la scultura della bellezza de'colori ' , " an assumption that we will later ...
Page 77
... painted word ' ( Ham . III , i , 51– 3 ) . In such uses , as in Perdita's refusal to paint herself in The Winter's Tale ( IV , iv , 101-3 ) , Shakespeare reflects a widespread misogynistic trend of his age , 80 linking female cosmetic ...
... painted word ' ( Ham . III , i , 51– 3 ) . In such uses , as in Perdita's refusal to paint herself in The Winter's Tale ( IV , iv , 101-3 ) , Shakespeare reflects a widespread misogynistic trend of his age , 80 linking female cosmetic ...
Page 82
... painting on of the colours of life , making the complexion of an actor's 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 ...
... painting on of the colours of life , making the complexion of an actor's 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 ...
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