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 12
... Moors look and talk and love , give me a Moor for a husband . ” ” 1 Such testimony resonates interestingly with Jackson's reaction . Audi- ences are so moved by the play that they seem to lose their concentration on the " propriety and ...
... Moors look and talk and love , give me a Moor for a husband . ” ” 1 Such testimony resonates interestingly with Jackson's reaction . Audi- ences are so moved by the play that they seem to lose their concentration on the " propriety and ...
Strana 34
... Moor- ish attributes in a way that can perplex modern audiences , who have assimilated ( and in many cases more recently come to reject ) the un- derstanding of distinct racial identities from the ideas systematically deployed by ...
... Moor- ish attributes in a way that can perplex modern audiences , who have assimilated ( and in many cases more recently come to reject ) the un- derstanding of distinct racial identities from the ideas systematically deployed by ...
Strana 44
... Moor . . . ( 120–124 ) Before we fill in the gaps , 19 this elliptical speech seems to be describing Desdemona's multiple sexual transports with ( that is , attractions to ) first an unspecified common knave who then emerges into more ...
... Moor . . . ( 120–124 ) Before we fill in the gaps , 19 this elliptical speech seems to be describing Desdemona's multiple sexual transports with ( that is , attractions to ) first an unspecified common knave who then emerges into more ...
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