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 67
... sense of injured merit . whatever The play gives us ample basis to see Iago's lunacy for what it is . Some- times it does so by verbal suggestion , as in the perverse apartheid by which lago imagines the proper managing of our bodily ...
... sense of injured merit . whatever The play gives us ample basis to see Iago's lunacy for what it is . Some- times it does so by verbal suggestion , as in the perverse apartheid by which lago imagines the proper managing of our bodily ...
Strana 83
... sense . Hence Othello's confidence at the beginning that " my demerits / May speak unbonneted to as proud a fortune / As this that I have reached " ( 1.2.22–25 ) now diminishes to a sense of " mine own weak merits " ( 190 ) . This ...
... sense . Hence Othello's confidence at the beginning that " my demerits / May speak unbonneted to as proud a fortune / As this that I have reached " ( 1.2.22–25 ) now diminishes to a sense of " mine own weak merits " ( 190 ) . This ...
Strana 201
... sense of a totally disinterested ( un- prejudiced ) perception of an external reality is impossible ... sense he's already there . 29. That Brabantio's case collapses with Desdemona's testimony seems oddly literal . Desdemona was not of ...
... sense of a totally disinterested ( un- prejudiced ) perception of an external reality is impossible ... sense he's already there . 29. That Brabantio's case collapses with Desdemona's testimony seems oddly literal . Desdemona was not 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