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 39
Strana 149
... practice tried to obscure the horrific action at the end of this play , the more they foregrounded it . " Then again maybe Irving knew what he was doing ; theatrical savvy can sometimes produce more interesting results than conscious ...
... practice tried to obscure the horrific action at the end of this play , the more they foregrounded it . " Then again maybe Irving knew what he was doing ; theatrical savvy can sometimes produce more interesting results than conscious ...
Strana 177
... practice and theological belief more than racial identity . For Renaissance audiences , as we have seen , washing an Ethiop white would have represented a genuine ( if unliteral ) possibility — something which helps to explain ...
... practice and theological belief more than racial identity . For Renaissance audiences , as we have seen , washing an Ethiop white would have represented a genuine ( if unliteral ) possibility — something which helps to explain ...
Strana 202
... practice , which he thought inter- rupted the momentum of the action ; hence the focus on Iago's expression keeps us engaged psychologically something for which there are antecedents going back to the Fechter example cited in the ...
... practice , which he thought inter- rupted the momentum of the action ; hence the focus on Iago's expression keeps us engaged psychologically something for which there are antecedents going back to the Fechter example cited in the ...
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