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 4
... claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex- perienced a similarly increased sense of sexual interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding ...
... claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex- perienced a similarly increased sense of sexual interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding ...
Strana 18
... claim that their interpretations are not just valid but true , yet another piece of evidence for the special pressures the play puts on us . " In Holloway's case , however , this claim is especially problematic . Given the difficulty of ...
... claim that their interpretations are not just valid but true , yet another piece of evidence for the special pressures the play puts on us . " In Holloway's case , however , this claim is especially problematic . Given the difficulty of ...
Strana 69
... claim is heretical nonsense . God was there first , at the beginning ; the devil is antimatter , the adversary ... claims are rarely made so baldly in academic analysis , 11 but they appear more frequently in fiction and popular culture ...
... claim is heretical nonsense . God was there first , at the beginning ; the devil is antimatter , the adversary ... claims are rarely made so baldly in academic analysis , 11 but they appear more frequently in fiction and popular culture ...
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