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. |
Vyhledávání v knize
Výsledky 1-3 z 28
Strana 50
... passage from Rymer complaining about Desdemona's pleas for Cassio ( I quote the passage in chapter 4 ) and then says , " It is to be hoped that the reader comprehends the motive which prompts the occasional in- sertion of these ...
... passage from Rymer complaining about Desdemona's pleas for Cassio ( I quote the passage in chapter 4 ) and then says , " It is to be hoped that the reader comprehends the motive which prompts the occasional in- sertion of these ...
Strana 102
... passage , implodes at the end into separate and sex- ualized bodily parts " noses , ears , and lips . " An ... passage - as in the other passages , though I've so far tended to ignore it — is with Desdemona . Othello understands the ...
... passage , implodes at the end into separate and sex- ualized bodily parts " noses , ears , and lips . " An ... passage - as in the other passages , though I've so far tended to ignore it — is with Desdemona . Othello understands the ...
Strana 157
... passage in chapter 3 ) , Cole- ridge's sense of absolutely clear coordinates has disappeared ; with “ next to the devil , only not quite the devil , " Coleridge seems to have walked with lago into a twilight zone , and the excited ...
... passage in chapter 3 ) , Cole- ridge's sense of absolutely clear coordinates has disappeared ; with “ next to the devil , only not quite the devil , " Coleridge seems to have walked with lago into a twilight zone , and the excited ...
Obsah
Introduction Othello and Interpretive Traditions | 1 |
Othello in Theatrical and Critical History | 11 |
Disconfirmation | 30 |
Autorská práva | |
Další části 3 nejsou zobrazeny.
Další vydání - Zobrazit všechny
Běžně se vyskytující výrazy a sousloví
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