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.

motw/Shakespeare and the Visual Arts - Michele Marrapodi.epub

motw/Shakespeare and the Visual Arts - Michele Marrapodi.pdf

Marrapodi, Michele;

Ashgate Publishing Limited

Taylor & Francis Group

Taylor & Francis Ltd

Gower Publishing Ltd

Taylor and Francis

Anglo-Italian Renaissance studies series, 16, Abingdon, Oxon, 2017

Anglo-Italian Renaissance studies series, Milton, 2017

United Kingdom and Ireland, United Kingdom

1, 20170217

producers:
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Memory of the World Librarian: Slowrotation

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Cover 1
Half Title 2
Title Page 4
Copyright Page 5
Dedication 6
Contents 8
List of figures 12
Acknowledgements 16
Introduction: Timon of Athens: The theatre and the visual 18
PART I: Intermediality: Visuality and drama 44
1 Shakespeare the emblematist 46
2 Titus Andronicus and Renaissance visual culture: Contemporary emblems of the hand and Ekphrasis 60
3 “All Adonises must die”: Shakespeare’s Venus and Adonis and the episodic imaginary 72
4 Shakespeare’s Octavia and Cleopatra: Between stasis and movement 94
5 Both goddess and woman: Cleopatra and Venus 112
6 Vanishing points and horizons of audience perception in Shakespeare’s late plays 126
PART II: Shakespeare’s use of the visual 148
7 “Pencill’d pensiveness and colour’d sorrow”: Italian visual arts and ekphrastic tension in Othello, Cymbeline, and Lucrece 150
8 “Wear this jewel for me, ’tis my picture”: The miniature in Shakespeare’s work 176
9 The charm of decapitation: Medusa in Caravaggio and Measure for Measure 195
10 “Those foundations which I build upon”: Construction and misconstruction in The Winter’s Tale 211
11 Shakespeare’s genre paintings 225
12 Verbal painting by means of dance and portraits 245
PART III: Representing the visual arts 258
13 Painting and representing gender in the drama of Shakespeare and his Spanish contemporaries 260
14 Shakespearean iconography: Some nineteenth-century popular editions and the verbal-visual nexus to serpents 277
15 “Paint me in my gallery”: Time, perspective, and the Painter Addition to The Spanish Tragedy 307
16 Władysław Czachórski – A Polish painter with Italian soul and Shakespearean vision: “Hamlet Receiving the Players” 329
17 Julius Caesar: Shakespeare and the ruins of Rome 358
Afterword: Beginnings and departures 374
Bibliography 380
Notes on contributors 408
Index 412

2025-10-27