Titlebook: John Ruskin and the Victorian Theatre; Katherine Newey,Jeffrey Richards Book 2010 Palgrave Macmillan, a division of Macmillan Publishers L

易改變

Palpitation

John Ruskin at the Theatre,ed with the theatre. But he was a long-time theatregoer, had a circle of friends associated with the theatre and made regular pronouncements about the value of the theatre as an educational form. In this book, we trace the ways in which Ruskin’s direct and indirect engagements with the popular theat

hereditary

Ruskinian Influences,l educators, and guides to feeling, seeing and ., sing through all his work. However idealised, however inaccurate as historical discourse, his homage to the medieval craftsmen in . for their work showing their individuality, their roughness, their savagery, was typical of Ruskin’s commitment to kno

內(nèi)向者

E.W. Godwin and Ruskinian Aesthetics,actual theatre practice? The prime candidate must be Edward William Godwin, the man Oscar Wilde dubbed ‘one of the most artistic spirits of this century in England’.. E.W. Godwin was an architect, archaeologist, antiquarian, furniture designer, textile and wallpaper designer and drama critic. He was

ELATE

configuration

SMART

enfeeble

Mangle

Stage Beauty,osophy throughout his writing life:.Ruskin’s instruction to young artists is often cited as the direct inspiration for the Pre-Raphaelites, and the behest to ‘go to Nature’ frames the Pre-Raphaelite approach to subject choice, composition and colour. Ruskin’s art criticism of the 1830s and 1840s, wi

不易燃

Ruskinian Shakespeare,alleries and professors of Christendom’ (. 37.34). In so doing, he entered into what was to become a major debate in late Victorian artistic circles — the question of whether or not theatrical scene painting should rank alongside other forms of painting as an art rather than as a theatrical craft.