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 52
... similar to the irrational epistemological model developed in Brabantio . Despite the sober reflection and the careful examination of contradictory hypotheses at the beginning of the scene , the Duke becomes convinced of Turkish ...
... similar to the irrational epistemological model developed in Brabantio . Despite the sober reflection and the careful examination of contradictory hypotheses at the beginning of the scene , the Duke becomes convinced of Turkish ...
Strana 122
... similar way , a strongly resistant Desdemona on the nineteenth - century stage remained only an un- or under - represented possibility . Though his acting edition called for fierce struggle , " Fechter's performances apparently did not ...
... similar way , a strongly resistant Desdemona on the nineteenth - century stage remained only an un- or under - represented possibility . Though his acting edition called for fierce struggle , " Fechter's performances apparently did not ...
Strana 149
... similar “ long pause , " creating " tension " that was “ almost insufferable " ( Sprague , Shakespeare and the Actors , 216 ) , and Salvini played the scene not for disinterested sacrifice but for passionate violence . Perhaps Irving ...
... similar “ long pause , " creating " tension " that was “ almost insufferable " ( Sprague , Shakespeare and the Actors , 216 ) , and Salvini played the scene not for disinterested sacrifice but for passionate violence . Perhaps Irving ...
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