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 43
... evidence for an anxious sense of Desdemona's transgressive nature . Cook speculates that the " unlikely alliance with a Moor might have been far less troubling than the elopement itself , " but the anxieties Iago produces about ...
... evidence for an anxious sense of Desdemona's transgressive nature . Cook speculates that the " unlikely alliance with a Moor might have been far less troubling than the elopement itself , " but the anxieties Iago produces about ...
Strana 48
... evidence , “ will find it easy to abandon " Iago's prejudiced hypotheses for more plausible ones ( 47 ) . It is therefore particularly appropriate that the doubts are resolved in a meeting of the Venetian Senate , an elaborate scene ...
... evidence , “ will find it easy to abandon " Iago's prejudiced hypotheses for more plausible ones ( 47 ) . It is therefore particularly appropriate that the doubts are resolved in a meeting of the Venetian Senate , an elaborate scene ...
Strana 136
... evidence not of Bianca's occupation but of Iago's — poisonously transmitting ( in the play's pun ) the abhorrence of women.20 But again , since we need no more evidence of Iago's true nature , why do we believe him ? Because , it may be ...
... evidence not of Bianca's occupation but of Iago's — poisonously transmitting ( in the play's pun ) the abhorrence of women.20 But again , since we need no more evidence of Iago's true nature , why do we believe him ? Because , it may be ...
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