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 21
... never directly heard and writers we have never even heard of . Holloway himself now functions as one of our determinants , along with much subsequent writ- ing and performance , absorbing into themselves the claims made earlier – by ...
... never directly heard and writers we have never even heard of . Holloway himself now functions as one of our determinants , along with much subsequent writ- ing and performance , absorbing into themselves the claims made earlier – by ...
Strana 74
... never shut up , they keep making in- comprehensible demands ) , his banter needs no historical introduction . Its tone of fed - up irritation remains the standard fodder of standup comedy where , with or without a wit comparable to ...
... never shut up , they keep making in- comprehensible demands ) , his banter needs no historical introduction . Its tone of fed - up irritation remains the standard fodder of standup comedy where , with or without a wit comparable to ...
Strana 128
... never taint my love " ( 4.2.161-163 ) . Like Emilia at the end , Desde- mona asserts her own power here . Othello's ... never fully own , and that was Desdemona's own self . In the beginning of the Willow Song scene , responding to ...
... never taint my love " ( 4.2.161-163 ) . Like Emilia at the end , Desde- mona asserts her own power here . Othello's ... never fully own , and that was Desdemona's own self . In the beginning of the Willow Song scene , responding to ...
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