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 52
... turns to another gentlewoman to indulge in precocious sexual flirtation , but then the spurned First Lady tells him perhaps unwelcome news : ' The queen your mother rounds apace ' . He certainly cannot be pleased by her teasing mock ...
... turns to another gentlewoman to indulge in precocious sexual flirtation , but then the spurned First Lady tells him perhaps unwelcome news : ' The queen your mother rounds apace ' . He certainly cannot be pleased by her teasing mock ...
Page 127
... turn . Perdita's predicament Just like the rurally - bred princes of Cymbeline who do not know that their warlike ' instincts ' are due to royal blood , humbly brought- up Perdita at times finds it very hard ... to hide the sparks of ...
... turn . Perdita's predicament Just like the rurally - bred princes of Cymbeline who do not know that their warlike ' instincts ' are due to royal blood , humbly brought- up Perdita at times finds it very hard ... to hide the sparks of ...
Page 164
... turn into actiue ' ( “ The Epistle ' , sig . L4v ) . 93 I would suggest that an opposed active / contemplative symbol- ism in Camillo and Paulina is operative in The Winter's Tale . ” Yet these two converge , and then are joined ...
... turn into actiue ' ( “ The Epistle ' , sig . L4v ) . 93 I would suggest that an opposed active / contemplative symbol- ism in Camillo and Paulina is operative in The Winter's Tale . ” Yet these two converge , and then are joined ...
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