« His precious stones new-lost » : Iconotextes du Roi Lear
The blinding of Gloucester in Shakespeare’s King Lear (3.7) has mainly invited new historicist and psychological readings. An altogether different line of investigation suggests an intermedial connection with the stone-cutting motif in Dutch sixteenth- and seventeenth-century art. The well-documente...
محفوظ في:
| الحاوية / القاعدة: | URI:https://journals.openedition.org/ranam, |
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| المؤلف الرئيسي: | |
| التنسيق: | Article ou chapitre numérique |
| اللغة: | Français |
| منشور في: |
Recherches anglaises et nord-américaines
2026
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| الموضوعات: | |
| الوصول للمادة أونلاين: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| الملخص: | The blinding of Gloucester in Shakespeare’s King Lear (3.7) has mainly invited new historicist and psychological readings. An altogether different line of investigation suggests an intermedial connection with the stone-cutting motif in Dutch sixteenth- and seventeenth-century art. The well-documented pictorial character of Edgar’s description of the cliff at Dover in act 4 moreover argues a diptych, and a larger role of the visual arts in King Lear than has been previously assumed. |
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