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 36
Strana 18
... speak authoritatively of anyone else's , let alone everyone else's ? This appeal beyond Othello's speech to a presumed consensus allows Holloway to play fast and loose with the speech itself . It is hard to see what Othello can be ...
... speak authoritatively of anyone else's , let alone everyone else's ? This appeal beyond Othello's speech to a presumed consensus allows Holloway to play fast and loose with the speech itself . It is hard to see what Othello can be ...
Strana 24
... speak most directly to us and for us , drawing us most deeply into their own posi- tions inside the action of the play . The obvious answer here is the pro- tagonist . According to G. Wilson Knight , " Othello is dominated by its ...
... speak most directly to us and for us , drawing us most deeply into their own posi- tions inside the action of the play . The obvious answer here is the pro- tagonist . According to G. Wilson Knight , " Othello is dominated by its ...
Strana 119
... speak . / ' Tis proper I obey him — but not now . / Perchance , Iago , I will ne'er go home " ( 192–194 ) . - The thoughtfulness here is directly opposite to the thoughtlessness indeed , mindlessness : " I nothing , but to please his ...
... speak . / ' Tis proper I obey him — but not now . / Perchance , Iago , I will ne'er go home " ( 192–194 ) . - The thoughtfulness here is directly opposite to the thoughtlessness indeed , mindlessness : " I nothing , but to please his ...
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