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 16
... Bradley's Shakespearean Tragedy . We have , though , our own embarrass- ments and anxieties , our own sources of shame in the face of this play , which seem to have been passed down to us from the origins of modern critical response ...
... Bradley's Shakespearean Tragedy . We have , though , our own embarrass- ments and anxieties , our own sources of shame in the face of this play , which seem to have been passed down to us from the origins of modern critical response ...
Strana 146
... Bradley , Winter recognizes that Othello is deluded , but this doesn't seem to matter . In more general terms , the assumptions driving the Bradleyan view may be located in Hegel's claims about tragedy on which Bradley ac- knowledges ...
... Bradley , Winter recognizes that Othello is deluded , but this doesn't seem to matter . In more general terms , the assumptions driving the Bradleyan view may be located in Hegel's claims about tragedy on which Bradley ac- knowledges ...
Strana 158
... Bradley says elsewhere , what Coleridge called " the poet for all ages " ( I will return to these terms in the afterword ) . Like Coleridge , Bradley affirms his conviction that Shakespeare has not truly crossed over into the dangerous ...
... Bradley says elsewhere , what Coleridge called " the poet for all ages " ( I will return to these terms in the afterword ) . Like Coleridge , Bradley affirms his conviction that Shakespeare has not truly crossed over into the dangerous ...
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