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 64
... stone ' ; and , in Mantua , ' three statues very curiously pourtrayed in white stone ' ; and , in Padua , the ancient statue of Livy and the two modern ones all ' pourtrayed in white stone ' ; and in Padua again ' a statue of a very ...
... stone ' ; and , in Mantua , ' three statues very curiously pourtrayed in white stone ' ; and , in Padua , the ancient statue of Livy and the two modern ones all ' pourtrayed in white stone ' ; and in Padua again ' a statue of a very ...
Page 164
... stone are chemicals . But these ' Elements ' that ' joyne that they not strive ' are allied also to the active and contemplative principles : " This poynt also for any beare in minde , / That passiue natures you turn into actiue ...
... stone are chemicals . But these ' Elements ' that ' joyne that they not strive ' are allied also to the active and contemplative principles : " This poynt also for any beare in minde , / That passiue natures you turn into actiue ...
Page 205
... Stone , 1979b , pp . 225–6 , hold Nicholas Stone to be the innovative force in early Stuart sculpture , but Stone worked in England only after 1613. Colie , 1974 , p . 280 , seems to sug- gest that at the time of The Winter's Tale ...
... Stone , 1979b , pp . 225–6 , hold Nicholas Stone to be the innovative force in early Stuart sculpture , but Stone worked in England only after 1613. Colie , 1974 , p . 280 , seems to sug- gest that at the time of 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