Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - Počet stran: 272 During the past twenty years or so, Othello has become the Shakespearean tragedy that speaks most powerfully to our contemporary concerns. Focusing on race and gender (and on class, ethnicity, sexuality, and nationality), the play talks about what audiences want to talk about. Yet at the same time, as refracted through Iago, it forces us to hear what we do not want to hear; like the characters in the play, we become trapped in our own prejudicial malice and guilt. |
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Strana 35
... according to the character list in the Folio , a monstrously amorphous creature in the action , is described as a " thing of darkness " ( 5.1.275 ) . " What , has this thing appear'd again to - night ? " Horatio asks at the be- ginning ...
... according to the character list in the Folio , a monstrously amorphous creature in the action , is described as a " thing of darkness " ( 5.1.275 ) . " What , has this thing appear'd again to - night ? " Horatio asks at the be- ginning ...
Strana 213
... according to G. R. Elliott , commenting on Othello's response to Brabantio at the beginning ( “ She has deceived her father ... My life upon her faith " ) : “ If Othello's part is properly acted the audience perceives that he has a ...
... according to G. R. Elliott , commenting on Othello's response to Brabantio at the beginning ( “ She has deceived her father ... My life upon her faith " ) : “ If Othello's part is properly acted the audience perceives that he has a ...
Strana 217
... according to Merritt Hughes's note , echoes Mucius Scaevola thrusting his hand into the fire , but the speaker is Belial . 7. Swan played Othello at the Theatre Royal , Dublin , in 1742 , but it “ is not clear whether his notes reflect ...
... according to Merritt Hughes's note , echoes Mucius Scaevola thrusting his hand into the fire , but the speaker is Belial . 7. Swan played Othello at the Theatre Royal , Dublin , in 1742 , but it “ is not clear whether his notes reflect ...
Obsah
Introduction Othello and Interpretive Traditions | 1 |
Othello in Theatrical and Critical History | 11 |
Disconfirmation | 30 |
Autorská práva | |
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acknowledge Actors anxiety audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's Cambridge University Press Carlisle Cassio century character claim Coleridge Coleridge's commentary contemporary context critical cultural Cyprus demona Desdemona desire devil earlier echoes Edwin Booth effect Emilia emphasis Empson essay evoke Fechter feel gender Hamlet Hankey Honigmann Iago Iago's idea identity imagination interest interpretive traditions King Lear lago Lear Leavis literary London marriage meaning Michael Neill modern Moor murder nature Neill Newman nineteenth nineteenth-century nonetheless norms original Othello Othello and Desdemona passage Patrick Stewart performance perhaps pharmakos play play's production protagonist question quoted racial Ralph Crane remarks Renaissance response Ridley Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests Temptation Scene textual Theatre theatrical thing tion tragic Tynan Venetian villain whore women words York