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 185
... character - centered interpreta- tion with which we now take possession of the play . But an understanding of Othello in our time as the product of an ongoing movement ... character " is pictured as a sort of " Character Endures " { 185 }
... character - centered interpreta- tion with which we now take possession of the play . But an understanding of Othello in our time as the product of an ongoing movement ... character " is pictured as a sort of " Character Endures " { 185 }
Strana 189
... character originates , what exactly makes the concept so enduring ? What are we hanging onto ? The term “ character " is over- loaded . Worthen's description includes " integration , self - presence , in- ternalization , and ...
... character originates , what exactly makes the concept so enduring ? What are we hanging onto ? The term “ character " is over- loaded . Worthen's description includes " integration , self - presence , in- ternalization , and ...
Strana 228
... Character Endures " 1. The phrases are taken from Grady , esp . chapter 2 . 2. James Bulman makes the point more ... character is not needed in poetic drama , only coherence of metaphor and so on , " but he immediately adds that ...
... Character Endures " 1. The phrases are taken from Grady , esp . chapter 2 . 2. James Bulman makes the point more ... character is not needed in poetic drama , only coherence of metaphor and so on , " but he immediately adds that ...
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