The Dark Lantern: A Historical Study of Sight in Shakespeare, Webster, and Middleton |
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Page 152
... concern with different manners of seeing , as he twice observes that we can be deceived by looking too closely at details instead of withdrawing to contemplate the larger ( and more accurate ) whole . Although it is not clear whether he ...
... concern with different manners of seeing , as he twice observes that we can be deceived by looking too closely at details instead of withdrawing to contemplate the larger ( and more accurate ) whole . Although it is not clear whether he ...
Page 266
... concern me here is formulated vaguely by Pandarus at the beginning of the play : " Have you any eyes ? Do you know what a man is ? " ( 1. 2. 256 ) . The play is , as we shall see , full of such questions about the relation between ...
... concern me here is formulated vaguely by Pandarus at the beginning of the play : " Have you any eyes ? Do you know what a man is ? " ( 1. 2. 256 ) . The play is , as we shall see , full of such questions about the relation between ...
Page 356
... concern in these pages , we find ourselves in a dramatic world where sight is a form of deception and light has a disturbing tendency to confound rather than clarify . In the last few decades , a number of studies have commented on the ...
... concern in these pages , we find ourselves in a dramatic world where sight is a form of deception and light has a disturbing tendency to confound rather than clarify . In the last few decades , a number of studies have commented on the ...
Contents
INTRODUCTION | iii |
THE DARK LANTERN | 45 |
THE REFORMED EYE | 107 |
Copyright | |
6 other sections not shown
Common terms and phrases
Achilles active antivisual argued becomes Bianca blindness Bosola Calvin camera obscura chapter conception of sight context critics culture dark deception Descartes described Desdemona detached Dingley discussion distinction dramatic Duchess of Malfi early modern English example explore extramission eyebeam Ferdinand gaze George Hakewill Greeks heart heaven historical Hobbes Iago Iago's iconoclastic idolatry intromissive John Webster Kepler King King Lear Leantio Lear light literary London look Lucrece Lucrece's madness means Middleton mind mirror nature object observer ocular proof optics Othello participation passive perception perspective play poem poet poet's Puritan reading reciprocal reformed religious Renaissance Second Maiden's Tragedy seems seen sense seventeenth century Shakespeare social Sonnet 24 soul specular speculative vision suggests Tarquin things Thomas Middleton tion traditional tragedy Troilus and Cressida turn Ulysses Venus and Adonis visible visual experience visual theory Webster White Devil Women Beware Women words youth