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 11
... response that continues more or less unbroken to our own day . The stage history of Othello is full of stories about audiences so disturbed that they could not contain them- selves within the bounds of conventional response . Jean ...
... response that continues more or less unbroken to our own day . The stage history of Othello is full of stories about audiences so disturbed that they could not contain them- selves within the bounds of conventional response . Jean ...
Strana 42
... response to it : “ I think this tale would win my daughter too . " Whether speaking to Brabantio or himself , the Duke ignores Desde- mona's entry : Othello's mesmerizing speech has allowed no room for other impressions.16 At the end of ...
... response to it : “ I think this tale would win my daughter too . " Whether speaking to Brabantio or himself , the Duke ignores Desde- mona's entry : Othello's mesmerizing speech has allowed no room for other impressions.16 At the end of ...
Strana 180
... response . Neill brings it to the surface here , and even if he relegates it to a footnote about an earlier self , the effect is movingly impressive . - ― Like " Deformed " in Much Ado a lighter play about misprision , jealousy , pain ...
... response . Neill brings it to the surface here , and even if he relegates it to a footnote about an earlier self , the effect is movingly impressive . - ― Like " Deformed " in Much Ado a lighter play about misprision , jealousy , pain ...
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