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 52
... beginning , or totally erase the memory of Iago's suggestion that senatorial impartiality is a hypocritical facade ( “ the state ... Cannot with safety cast him " [ 1.1.145 , 147 ] ) . 30 The Duke's com- forting maxims at the end of the ...
... beginning , or totally erase the memory of Iago's suggestion that senatorial impartiality is a hypocritical facade ( “ the state ... Cannot with safety cast him " [ 1.1.145 , 147 ] ) . 30 The Duke's com- forting maxims at the end of the ...
Strana 69
... beginning ; the devil is antimatter , the adversary ; hatred , like all sin , is a perversion of ontologically prior love . But in terms of theatrical experi- ence rather than orthodox Christian values , Othello makes us feel Iago's ...
... beginning ; the devil is antimatter , the adversary ; hatred , like all sin , is a perversion of ontologically prior love . But in terms of theatrical experi- ence rather than orthodox Christian values , Othello makes us feel Iago's ...
Strana 78
... beginning of the act ; it is the pathetic question of a man who rightly — that he is trapped . He doesn't seem to have a chance against Iago , any more than we did earlier . Why should we expect Othel- lo to fare any better ? senses ...
... beginning of the act ; it is the pathetic question of a man who rightly — that he is trapped . He doesn't seem to have a chance against Iago , any more than we did earlier . Why should we expect Othel- lo to fare any better ? senses ...
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