This major new interdisciplinary study argues that Shakespeare
exploited long-established connections between vision, space and
language in order to construct rhetorical equivalents for visual
perspective. Through a detailed comparison of art and poetic theory
in Italy and England, Thorne shows how perspective was appropriated
by English writers, who reinterpreted it to suit their own literary
concerns and cultural context. Focusing on five Shakespearean
plays, she situates their preoccupation with issues of viewpoint in
relation to a range of artistic forms and topics from miniatures to
masques.
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