Shakespeare and the Visual Imagination

Stuart Sillars (Universitetet i Bergen, Norway)

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Hardback

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English

Cambridge University Press
06 August 2015

Theory of art; Literary studies: c 1500 to c 1800; Shakespeare studies & criticism

Shakespeare's knowledge of the practices of visual art, its fundamental concepts and the surrounding debates is clear from his earliest works. This book explores this relationship, showing how key works develop visual compositions as elements of dramatic movement, construction of ideas, and reflections on the artifice of theatre and language. The Taming of the Shrew, Love's Labour's Lost, Richard II and A Midsummer Night's Dream are explored in detail, offering new insights into their forms, themes, and place in European traditions. The use of emblems is examined in Titus Andronicus and As You Like It; studies of Venus and Adonis, some sonnets and The Rape of Lucrece reveal different but related visual aspects; a later chapter suggests how the new relation between seeing and soliloquy in The Rape of Lucrece is developed in other plays. Extensively illustrated, the book explores Shakespeare's assimilation and exploration of visual traditions in structure, theme and idea throughout the canon.

By: Stuart Sillars (Universitetet i Bergen Norway)
Imprint: Cambridge University Press
Country of Publication: United Kingdom
Dimensions: Height: 254mm, Width: 197mm, Spine: 21mm
Weight: 930g
ISBN: 9781107029958
ISBN 10: 1107029953
Pages: 333
Publication Date: 06 August 2015
Audience: Professional and scholarly , Undergraduate
Format: Hardback
Publisher's Status: Active

Stuart Sillars is Professor of English at the University of Bergen, Norway. His publications include Shakespeare and The Victorians (2013), Shakespeare, Time and the Victorians (Cambridge, 2012), The Illustrated Shakespeare, 1709–1875 (Cambridge, 2008) and Painting Shakespeare: The Artist as Critic, 1720–1820 (Cambridge, 2006).

Reviews for Shakespeare and the Visual Imagination

Advance praise: 'Sillars' concern is with the concept of visual art as much as it is with art objects themselves. The argument that the theatre itself has a specific visual identity and that Shakespeare uses visual ideas to explore that identity is an especially fresh approach and one that works to complicate the depictions of art objects in the plays. This is a remarkable and important book and one that demonstrates compendious knowledge of both the literary and visual traditions and casts a genuinely new light on Shakespeare's works.' Dympna C. Callaghan, Syracuse University