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 28
... later . The shift away from Othello as the affective center occurs , as we have seen , with the anti - Bradleyan insurgence of Eliot and Leavis ; but Bradley himself was already forced to some desperate expedients in order to sus- tain ...
... later . The shift away from Othello as the affective center occurs , as we have seen , with the anti - Bradleyan insurgence of Eliot and Leavis ; but Bradley himself was already forced to some desperate expedients in order to sus- tain ...
Strana 43
... later response to Desdemona ( Raysor , 1.42 ) . Bradley hotly contested this view , claiming that it represented Desdemona's " love , in effect , as Brabantio regarded it , and not as Shakespeare conceived it " ; but the only way ...
... later response to Desdemona ( Raysor , 1.42 ) . Bradley hotly contested this view , claiming that it represented Desdemona's " love , in effect , as Brabantio regarded it , and not as Shakespeare conceived it " ; but the only way ...
Strana 102
... later , in the trance scene , describing the sexual boldness of Desdemona's substitute , Bianca : " So hangs and lolls and weeps upon me , so shakes and pulls me ! " ( 4.1.138-139 ) . As a reenactment of Desdemona's desire from within ...
... later , in the trance scene , describing the sexual boldness of Desdemona's substitute , Bianca : " So hangs and lolls and weeps upon me , so shakes and pulls me ! " ( 4.1.138-139 ) . As a reenactment of Desdemona's desire from within ...
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