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 23
Page 16
... stage . Theatre texts and playhouse property lists indicate that Tudor and Stuart audiences must often have accepted in the place of visual effects the use of narration to indicate the spectacular . Ac- cordingly , many descriptions of ...
... stage . Theatre texts and playhouse property lists indicate that Tudor and Stuart audiences must often have accepted in the place of visual effects the use of narration to indicate the spectacular . Ac- cordingly , many descriptions of ...
Page 24
... stage- oriented . But experience of excellent productions shows that we may be made subliminally aware of structural , iconic or thematic dimensions of a Shakespeare play while we simultaneously give ourselves thoroughly to the fable ...
... stage- oriented . But experience of excellent productions shows that we may be made subliminally aware of structural , iconic or thematic dimensions of a Shakespeare play while we simultaneously give ourselves thoroughly to the fable ...
Page 173
... stage business suggested by G. Wilson Knight for his earlier ' shoulder - blade is out ' hustle of the Good Samaritan Clown34 suggests that Autolycus has the agility to hide anything that he pleases . Likewise the tone of his boastful ...
... stage business suggested by G. Wilson Knight for his earlier ' shoulder - blade is out ' hustle of the Good Samaritan Clown34 suggests that Autolycus has the agility to hide anything that he pleases . Likewise the tone of his boastful ...
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