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 13
... Othello to his wife's Desdemona , becomes obsessively jealous with pre- dictably murderous consequences in " real life . " We should treat these anecdotes with caution . The elder Booth went over the top in roles other than Othello ...
... Othello to his wife's Desdemona , becomes obsessively jealous with pre- dictably murderous consequences in " real life . " We should treat these anecdotes with caution . The elder Booth went over the top in roles other than Othello ...
Strana 80
... Othello's mind from the object of his affectionate delight into a whore . Thereafter , although the play offers us occasional pros- pects for Othello to come back to his senses , we know , even as we invest hope in these prospects ...
... Othello's mind from the object of his affectionate delight into a whore . Thereafter , although the play offers us occasional pros- pects for Othello to come back to his senses , we know , even as we invest hope in these prospects ...
Strana 104
... Othello he saw " Cassio wipe his beard " with the handkerchief ( 3.3.442 ) , what it was he wiped . Fluidity of self is not just a metaphor in the language but a bodily fact of the play . Becoming nothing by becom- ing one with ...
... Othello he saw " Cassio wipe his beard " with the handkerchief ( 3.3.442 ) , what it was he wiped . Fluidity of self is not just a metaphor in the language but a bodily fact of the play . Becoming nothing by becom- ing one with ...
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