Critical investigation into the rubric of 'Shakespeare and the visual arts' has generally focused on the influence exerted by the works of Shakespeare on a number of artists, painters, and sculptors in the course of the centuries. Drawing on the poetics of intertextuality and profiting from the more recent concepts of cultural mobility and permeability between cultures in the early modern period, this volume’s tripartite structure considers instead the relationship between Renaissance material arts, theatre, and emblems as an integrated and intermedial genre, explores the use and function of Italian visual culture in Shakespeare’s oeuvre, and questions the appropriation of the arts in the production of the drama of Shakespeare and his contemporaries. By studying the intermediality between theatre and the visual arts, the volume extols drama as a hybrid genre, combining the figurative power of imagery with the plasticity of the acting process, and explains the tri-dimensional quality of the dramatic discourse in the verbal-visual interaction, the stagecraft of the performance, and the natural legacy of the iconographical topoi of painting’s cognitive structures. This methodolical approach opens up a new perspective in the intermedial construction of Shakespearean and early modern drama, extending the concept of theatrical intertextuality to the field of pictorial arts and their social-cultural resonance. An afterword written by an expert in the field, a rich bibliography of primary and secondary literature, and a detailed Index round off the volume.
"Timon of Athens": the theatre and the visual
págs. 1-26
págs. 29-42
"Titus Andronicus" and Renaissance visual culture: contemporary emblems of the hand and "Ekphrasis"
págs. 43-54
"All Adonises must die": Shakespeare's 'Venus and Adonis' and the episodic imaginary
págs. 55-76
Shakespeare's Octavia and Cleopatra: between stasis and movement
págs. 77-94
Both goddess and woman: Cleopatra and Venus
págs. 95-108
págs. 109-129
"Pencill'd pensiveness andn colour'd sorrow": Italian visual arts and ekphrastic tension in 'Othello, Cymbeline', and 'Lucrece'
págs. 133-158
"Wear this jewel for me, 'tis my picture": the miniature in Shakespeare's work
págs. 159-177
The charm of decapitation: Medusa in Caravaggio and 'Measure for Measure'
págs. 178-193
"Those foundations which I build upon": construction and misconstruction in 'The Winter's Tale'
págs. 194-207
págs. 208-227
págs. 228-240
págs. 243-259
Shakespearean iconography: some nineteenth-century popular editions and the verbal-visual nexus to serpents
págs. 260-289
"Paint me in my gallery": time, perspective, and the painter addition to 'The Spanish Tragedy'
págs. 290-311
Wladyslaw Czachorski, a polish painter with Italian soul and Shakespearean vision: "Hamlet receiving the players"
págs. 312-340
'Julius Caesar': Shakespeare and the ruins of Rome
págs. 341-355
págs. 357-362
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