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 41
... experience . Hence the sense of on- going action , things happening " oft " and " still " ( meaning “ always , " as ... experience and his relation of that experience , his life and his life story . At the very begin- ning of the ...
... experience . Hence the sense of on- going action , things happening " oft " and " still " ( meaning “ always , " as ... experience and his relation of that experience , his life and his life story . At the very begin- ning of the ...
Strana 61
... experience because he knows enough mathematics to work the new guns " ( 229 ) . The interest here is chiefly historical ; Empson is trying to reconstruct a Renaissance audience's experience . He may well be exaggerating the size of the ...
... experience because he knows enough mathematics to work the new guns " ( 229 ) . The interest here is chiefly historical ; Empson is trying to reconstruct a Renaissance audience's experience . He may well be exaggerating the size of the ...
Strana 117
... experience . This is Iago's tone , " the wine she drinks is made of grapes " ( 2.1.249-250 ) , but without cynicism or malice ; the words take us out of the claustrophobic intensity of the play's world into the larger space of the real ...
... experience . This is Iago's tone , " the wine she drinks is made of grapes " ( 2.1.249-250 ) , but without cynicism or malice ; the words take us out of the claustrophobic intensity of the play's world into the larger space of the real ...
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