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 145
... role of an artist . 10 In ' real life ' actors play only the parts they think they are playing , while in general the hazards in their roles are simulated . But , it will be argued , when Florizel and Perdita agree to act in the ' play ...
... role of an artist . 10 In ' real life ' actors play only the parts they think they are playing , while in general the hazards in their roles are simulated . But , it will be argued , when Florizel and Perdita agree to act in the ' play ...
Page 167
... role of Autolycus . ' A number of recent critics ( surprisingly many ) have condemned Autolycus morally ; some have seen him as an abuser of ' art ' de- ployed by Shakespeare to provide an ' inverse ' to a positive role for art in the ...
... role of Autolycus . ' A number of recent critics ( surprisingly many ) have condemned Autolycus morally ; some have seen him as an abuser of ' art ' de- ployed by Shakespeare to provide an ' inverse ' to a positive role for art in the ...
Page 170
... role vary so widely , in fact , that they may serve as a paradigm for several possible views of the whole play . The role of Autolycus has been seen as ambivalent in the extreme , or as very sharply theat- rically focused : the play has ...
... role vary so widely , in fact , that they may serve as a paradigm for several possible views of the whole play . The role of Autolycus has been seen as ambivalent in the extreme , or as very sharply theat- rically focused : the play has ...
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