Jaques and the Wounded Stag by William Hodges, Sawrey Gilpin and George Romney: (Re)Painting Shakespeare’s Melancholic Figure

• Authors: Laskowska-Hinz Sabina
• Languages of publication: EN

Abstracts

EN

The author argues that although William Shakespeare sometimes allows for minor inconsistencies in his plays, which more often than not pass unnoticed during their performances, he meticulously weaves their structures. In the course of analysing two examples of the playwright’s works, The Comedy of Errors and Much Ado About Nothing, the author suggests that in the former the Bard offers an hour-after-hour image of the fictional reality, whereas in the latter he not only provides us with a detailed account of the events placed within the calendar, but also seems to take advantage of this structure to suggest some hidden meaning.

Keywords

EN

William Shakespeare; As You Like It; Jaques and the Wounded Stag painting

• Publisher: Institute of English Studies, University of Warsaw
• Journal: Anglica. An International Journal of English Studies
• Year: 2016
• Issue: 25/3
• Pages: 37-50

Contributors

author

Laskowska-Hinz Sabina

• University of Warsaw

References

• Arnheim, Rudolf. 1974. Art and Visual Perception: A Psychology of the Creative Eye. 2nd ed. California: University of California Press.
• Babbitt, Irving. 1919. Rousseau and Romanticism. Boston and New York: The Riverside Press Cambridge.
• Bal, Mieke. 1991. Reading Rembrandt: Beyond the World-Image Opposition. Cambridge: Cambridge University Press.
• Bloom, Harold. 1999. Shakespeare: The Invention of the Human. New York, NY: Riverhead Books.
• Chamberlain, Arthur B. 1910. George Romney. New York, NY: Charles Scribner’s Son.
• Cerf, Barry. 1922. “Wordsworth’s Gospel of Nature.” PMLA. 37.4: 615–638.
• Cust, Lionel Henry. 1828. Dictionary of National Biography 1885–1900. Vol. 27. http://en.wikisource.org/wiki/Hodges,_Charles_Howard_(DNB00)
• Dennis-Bryan, Kim, Nicola Hodgson, and Nil Lockley, eds. 2009. Signs & Symbols: An Illustrated Guide to Their Origins and Meanings. London: Penguin Company
• Eco, Umberto. 2013. Historia krain i miejsc legendarnych. Trans. Tomasz Kwiecień. Poznań: REBIS.
• Forster, Edward Seymour ed. 1927. The Works of Aristotle. Problemata XXX. Vol. 7. Oxford: Oxford UP. https://archive.org/stream/worksofaristotle07arisuoft/ worksofaristotle07arisuoft_djvu.txt
• Martineau, Jane. ed. 2003. Shakespeare in Art. London: Merrell.
• Milton, John. 1994. The English Poems of John Milton. London: Wordsworth Editions.
• Panofsky, Erwin. 1971. Studia z historii sztuki. Trans. Jan Białostocki. Warszawa: PIW.
• Pariser, David. 1984. “A Conversation with Rudolf Arnheim.” Studies in Art Education 25. 3:176–184.
• Ripa, Cesare. 2011. Ikonologia. Trans. Ireneusz Kania. Kraków: UNIVERSITAS.
• Ronk, Martha. 2001. “Locating the Visual in As You Like It.” Shakespeare Quarterly 52. 2:255–276.
• Sed Rajna, Gabrielle. 1993. “The Image in the Text: Methodological Aspects of the Analysis of Illustration.” Bulletin John Rylands Library 75. 3. Manchester: Manchester University Press.
• Shakespeare, William. 2006. As You Like It. Ed. Juliet Dusinberre. London: Arden Shakespeare.
• Sillars, Stuard. 2006. Painting Shakespeare: The Artist as Critic 1720–1820. Cambridge: Cambridge University Press.
• Smith, John E. 1954. “Rousseau, Romanticism and the Philosophy of Existence.” Yale French Studies. Romanticism Revisited 13: 52–61.
• Wilmot-Buxton, H. J. 1883. Illustrated Handbooks of Art History. English Painters. London: Sampson Low, Marston, Searle, & Rivington. https://archive.org/stream/engpainters00wilm#page/n11/mode/2up
• Williams, George G. 1930. “The Beginnings of Nature Poetry in the Eighteenth Century.” Studies in Philology. 27. 4: 538–608.
• Wolf, Werner. 1999. The Musicalization of Fiction: A Study in the Theory and History of Intermediality. Amsterdam: Rodopi.