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 90
... perhaps displacing the previous occupants , perhaps joining the crowd congregating and congregated at the same rose - lipped black hole that is herself ( figs . 1–3 ) .12 As distinct identities collapse into one another in this passage ...
... perhaps displacing the previous occupants , perhaps joining the crowd congregating and congregated at the same rose - lipped black hole that is herself ( figs . 1–3 ) .12 As distinct identities collapse into one another in this passage ...
Strana 151
... perhaps do in attenuated forms in theatrical interpretation as well . They tend , how- ever , to be withdrawn from the protagonist and reinvested in a political or collective idea . Hence G. M. Matthews : Othello's final speech ...
... perhaps do in attenuated forms in theatrical interpretation as well . They tend , how- ever , to be withdrawn from the protagonist and reinvested in a political or collective idea . Hence G. M. Matthews : Othello's final speech ...
Strana 217
... Perhaps George Skillan's advice much later in the French's Acting Edi- tion , that anyone of Desdemona's “ quality and strong spirit ' naturally reacts with abhorrence to the sudden threat of violent death and fights for self ...
... Perhaps George Skillan's advice much later in the French's Acting Edi- tion , that anyone of Desdemona's “ quality and strong spirit ' naturally reacts with abhorrence to the sudden threat of violent death and fights for self ...
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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