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 10
... sustain a focus on the formal and affective qualities of a play like Othello . “ To vouch this is no proof , " of ... sustained argument would constitute " proof " in the sense of demonstration : the analysis that claims to justify a ...
... sustain a focus on the formal and affective qualities of a play like Othello . “ To vouch this is no proof , " of ... sustained argument would constitute " proof " in the sense of demonstration : the analysis that claims to justify a ...
Strana 75
... sustain us through the ordinary trials of life in the every- day world.27 - But Othello does not take place in the ... sustained over the last half of act 2 and ( unlike the praise of women ) with crucial implications for the overall ...
... sustain us through the ordinary trials of life in the every- day world.27 - But Othello does not take place in the ... sustained over the last half of act 2 and ( unlike the praise of women ) with crucial implications for the overall ...
Strana 170
... sustained in performance nonetheless - by Booth on the stage , and here by Winter himself in critical reflection ... sustained assault on the sensibilities ? It can be argued that guilt is good for the soul and that suffering builds ...
... sustained in performance nonetheless - by Booth on the stage , and here by Winter himself in critical reflection ... sustained assault on the sensibilities ? It can be argued that guilt is good for the soul and that suffering builds ...
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