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 31
... gives him a special accessibility beyond physical pres- ence ( " the shorter one in the brown , " or whatever ) . He clearly knows more than Roderigo , providing the background information to us as well as to him inside the action ...
... gives him a special accessibility beyond physical pres- ence ( " the shorter one in the brown , " or whatever ) . He clearly knows more than Roderigo , providing the background information to us as well as to him inside the action ...
Strana 68
... Give renewed fire to our extincted spirits And bring all Cyprus comfort ! ( 2.1.77–82 ) Cassio loves Desdemona as ... gives renewed fire to his own spirits , to all of them . Unlike Iago , who experiences other people's joy as poison ...
... Give renewed fire to our extincted spirits And bring all Cyprus comfort ! ( 2.1.77–82 ) Cassio loves Desdemona as ... gives renewed fire to his own spirits , to all of them . Unlike Iago , who experiences other people's joy as poison ...
Strana 86
... gives rest to one kind of anxious uncertainty - have they or haven't they ? - its alarm- ing specificity gives rise to another : what now will it be like ? This interest is displaced by the flurry of business with Iago , Cassio ...
... gives rest to one kind of anxious uncertainty - have they or haven't they ? - its alarm- ing specificity gives rise to another : what now will it be like ? This interest is displaced by the flurry of business with Iago , Cassio ...
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