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 51
... follow contrive to keep alive the ugly cu- riosity that Iago has aroused.27 Disconfirmation assumes a mind free and open to new evidence , but the model Neill describes here , “ a technique that works close to the unstable ground of ...
... follow contrive to keep alive the ugly cu- riosity that Iago has aroused.27 Disconfirmation assumes a mind free and open to new evidence , but the model Neill describes here , “ a technique that works close to the unstable ground of ...
Strana 53
... follow the oth- ers offstage , leaving us with Iago and Roderigo again , back where we started : Rod . Iago ! Iago ... follows one editorial tradition ( Ridley , Walker and Wilson ) ; the other is a dash ( " Iago— " ) , going back to Dr ...
... follow the oth- ers offstage , leaving us with Iago and Roderigo again , back where we started : Rod . Iago ! Iago ... follows one editorial tradition ( Ridley , Walker and Wilson ) ; the other is a dash ( " Iago— " ) , going back to Dr ...
Strana 122
... follow the stage tradition and the mani- fest " intention of Shakespeare " for a passive Desdemona " The terrified woman cowers down upon her pillow like a poor frightened child . Indeed , the whole scene loses its most pitiful ele ...
... follow the stage tradition and the mani- fest " intention of Shakespeare " for a passive Desdemona " The terrified woman cowers down upon her pillow like a poor frightened child . Indeed , the whole scene loses its most pitiful ele ...
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