Art and Illusion in The Winter's TaleThis 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 88
... bears . This may have provided impetus for Shakespeare's invention of an un - tame bear ( and an undignified exit ? ) in The Winter's Tale.18 The implicit mild ridicule in The Winter's Tale of nature whitewashed in the masque could well ...
... bears . This may have provided impetus for Shakespeare's invention of an un - tame bear ( and an undignified exit ? ) in The Winter's Tale.18 The implicit mild ridicule in The Winter's Tale of nature whitewashed in the masque could well ...
Page 151
... bear , Antigonus saves Perdita by inadvertently fulfilling his earlier promise to ' pawn the little blood which I have left / To save the innocent ' ( II , iii , 165–6 ) . The irony in this is doubly dark because , as we have discussed ...
... bear , Antigonus saves Perdita by inadvertently fulfilling his earlier promise to ' pawn the little blood which I have left / To save the innocent ' ( II , iii , 165–6 ) . The irony in this is doubly dark because , as we have discussed ...
Page 264
... bear ” : The Winter's Tale . ' Notes and Queries 35 ( 1988 ) : 484 . Notestein , Wallace . The History of Witchcraft in England from 1558 to 1718. Washington D.C. , 1911 . Nuttall , A. D. William Shakespeare : The Winter's Tale . London ...
... bear ” : The Winter's Tale . ' Notes and Queries 35 ( 1988 ) : 484 . Notestein , Wallace . The History of Witchcraft in England from 1558 to 1718. Washington D.C. , 1911 . Nuttall , A. D. William Shakespeare : The Winter's Tale . London ...
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