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 xii
... acknowledged in the dedication to Stanley Fish , who has been generously supplying me with useful ideas , and with let- ters of recommendation , for more years than either of us would care to acknowledge . 【 OTHELLO and Interpretive ...
... acknowledged in the dedication to Stanley Fish , who has been generously supplying me with useful ideas , and with let- ters of recommendation , for more years than either of us would care to acknowledge . 【 OTHELLO and Interpretive ...
Strana 70
... acknowledge our share . ( “ If Iago is guilty , " as Sheila Rose Bland puts it succinctly , “ so is the audience ” [ 37 ] . ) But this may be too abstract to get across in such a gestural echo ( the reviewer , apparently , was just ...
... acknowledge our share . ( “ If Iago is guilty , " as Sheila Rose Bland puts it succinctly , “ so is the audience ” [ 37 ] . ) But this may be too abstract to get across in such a gestural echo ( the reviewer , apparently , was just ...
Strana 142
... acknowledge the power of passion in Spranger Barry's delivery of these words : " We see Mr. Barry redden thro ' the very black of his face ; his whole visage becomes inflamed , his eyes sparkle with successful vengeance , and he seems ...
... acknowledge the power of passion in Spranger Barry's delivery of these words : " We see Mr. Barry redden thro ' the very black of his face ; his whole visage becomes inflamed , his eyes sparkle with successful vengeance , and he seems ...
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