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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... interest . These striking coincidences tend to be short - lived.2 As we'll see in the afterword , when in March 1995 ... interest for an expression of the interest it is analyzing . Some- thing like this could be said about , and in the ...
... interest . These striking coincidences tend to be short - lived.2 As we'll see in the afterword , when in March 1995 ... interest for an expression of the interest it is analyzing . Some- thing like this could be said about , and in the ...
Strana 4
... interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding interest in us , which would then count as evidence to justify the claim in the first place ? Of course , we might always disagree ...
... interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding interest in us , which would then count as evidence to justify the claim in the first place ? Of course , we might always disagree ...
Strana 55
... interest . The inner self is crucial here . One reason why " motiveless malignity " became and still is an irresistible phrase in talking about Iago is its power to concen- trate the mind on the mystery of Iago's character . ( This wasn ...
... interest . The inner self is crucial here . One reason why " motiveless malignity " became and still is an irresistible phrase in talking about Iago is its power to concen- trate the mind on the mystery of Iago's character . ( This wasn ...
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