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 30
... refers ? Who is the " him " that Iago has claimed to hate ? The answers become available only gradually . " Him " turns out to refer to a military commander whom lago resents for some perceived slight , but what is " this " ? Sixty ...
... refers ? Who is the " him " that Iago has claimed to hate ? The answers become available only gradually . " Him " turns out to refer to a military commander whom lago resents for some perceived slight , but what is " this " ? Sixty ...
Strana 31
... refer to " her father " and is skeptical about the view of " some editors " who think “ the ' him ' throughout is Othello . " But even coming back to this speech after reading or seeing the play many times , we can't be sure whether in ...
... refer to " her father " and is skeptical about the view of " some editors " who think “ the ' him ' throughout is Othello . " But even coming back to this speech after reading or seeing the play many times , we can't be sure whether in ...
Strana 193
... refers to the diminished interest as " Diana fatigue " ( 29 August 1998 , 2 ) . 3. For the idea that dirty talk or ... refer to such terms as if one were merely mentioning them , not making use of them , can support the structure of ...
... refers to the diminished interest as " Diana fatigue " ( 29 August 1998 , 2 ) . 3. For the idea that dirty talk or ... refer to such terms as if one were merely mentioning them , not making use of them , can support the structure of ...
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