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
... theatrical meanings within the gestures of an artistic code . In other words , to communicate he had to work within what Gombrich called an artist's inevitable ' limited choice situation ' , resembling a palette , or a gamut of possible ...
... theatrical meanings within the gestures of an artistic code . In other words , to communicate he had to work within what Gombrich called an artist's inevitable ' limited choice situation ' , resembling a palette , or a gamut of possible ...
Page 56
... theatrical lore , were ef- fortlessly alive to theatrical gestures for which scholars now must grope among tantalising traces . Thus the following excavation of certain topical resonances in The Winter's Tale ' will reveal only the tip ...
... theatrical lore , were ef- fortlessly alive to theatrical gestures for which scholars now must grope among tantalising traces . Thus the following excavation of certain topical resonances in The Winter's Tale ' will reveal only the tip ...
Page 144
... theatrical ' play ' in which Perdita will take a ' part ' . It is notable that the second , deceptive , disguising of Perdita does not inspire her to express further doubts about artifice , although it places her in a more than ever ...
... theatrical ' play ' in which Perdita will take a ' part ' . It is notable that the second , deceptive , disguising of Perdita does not inspire her to express further doubts about artifice , although it places her in a more than ever ...
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