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 16
... possible notes . According to Gombrich , for any artist , ' the more we know of his palette , the more likely we are to appreciate his choice ' and moreover no theory of expression is possible without ' a clear awareness of the ...
... possible notes . According to Gombrich , for any artist , ' the more we know of his palette , the more likely we are to appreciate his choice ' and moreover no theory of expression is possible without ' a clear awareness of the ...
Page 39
... possible , despite con- stant reminders of nature's endless flux , a new anagnorisis or com- ing to true knowledge of self and others.28 Allied distinctions have led some interpreters to claim that The Winter's Tale conveys at certain ...
... possible , despite con- stant reminders of nature's endless flux , a new anagnorisis or com- ing to true knowledge of self and others.28 Allied distinctions have led some interpreters to claim that The Winter's Tale conveys at certain ...
Page 242
... possible . Ibid . , p . 214 , concludes a long discus- sion of how crucial accusations of flying were in establishing the central belief in witchs ' sabbaths : ' until the late fourteenth century the educated . . . were quite clear that ...
... possible . Ibid . , p . 214 , concludes a long discus- sion of how crucial accusations of flying were in establishing the central belief in witchs ' sabbaths : ' until the late fourteenth century the educated . . . were quite clear that ...
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