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 28
... style in the play comes to resemble that of a group of late Italian Renaissance visual artists who ' loved to rely on the authority ' of the Antique and the norms it implied ' for creating variations ' . Of this group , Gombrich ...
... style in the play comes to resemble that of a group of late Italian Renaissance visual artists who ' loved to rely on the authority ' of the Antique and the norms it implied ' for creating variations ' . Of this group , Gombrich ...
Page 61
... style of sculpture avoiding ' the garish colouring of Elizabethan and early Jacobean tombs'30 ( see figs 3 and 4 , both 1612 memorials from the same church ) . The appear- ance of this influential turning point ' for English sculpture ...
... style of sculpture avoiding ' the garish colouring of Elizabethan and early Jacobean tombs'30 ( see figs 3 and 4 , both 1612 memorials from the same church ) . The appear- ance of this influential turning point ' for English sculpture ...
Page 97
... style with certain modes and practices of The Winter's Tale itself . However such an argument about ' styles ' across decades , nations and media is easier to imagine than confirm . We will be on more solid ground if we first consider ...
... style with certain modes and practices of The Winter's Tale itself . However such an argument about ' styles ' across decades , nations and media is easier to imagine than confirm . We will be on more solid ground if we first consider ...
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