Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 2. 2012 - Počet stran: 228 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 4
... find it hard to be sure that some prurient form of interest wasn't involved . The same uncomfortable sense had emerged earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated ...
... find it hard to be sure that some prurient form of interest wasn't involved . The same uncomfortable sense had emerged earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated ...
Strana 6
... find ourselves doing performance history . The per- formance history of Othello is extraordinarily rich . The play was evi- dently successful when new , to judge from the recorded performances and allusions . It was " probably the ...
... find ourselves doing performance history . The per- formance history of Othello is extraordinarily rich . The play was evi- dently successful when new , to judge from the recorded performances and allusions . It was " probably the ...
Strana 7
... find ourselves doing cultural history . In the manner that James Shapiro has used The Mer- chant to trace different ideas of Jewishness in English self- and national identification , we could examine the ways in which Othello has been ...
... find ourselves doing cultural history . In the manner that James Shapiro has used The Mer- chant to trace different ideas of Jewishness in English self- and national identification , we could examine the ways in which Othello has been ...
Strana 8
... find ourselves asking how the play produces the interpretations , and perhaps even why . What are the dramatic strategies by which Othello has managed to achieve its extra- ordinarily intense effects on audiences and readers over such a ...
... find ourselves asking how the play produces the interpretations , and perhaps even why . What are the dramatic strategies by which Othello has managed to achieve its extra- ordinarily intense effects on audiences and readers over such a ...
Strana 31
... find the clarification we seek . In the event , we are not disappointed . Zounds , sir , you're robbed , for shame put on your gown ! Your heart is burst , you have lost half your soul , Even now , now , very now , an old black ram Is ...
... find the clarification we seek . In the event , we are not disappointed . Zounds , sir , you're robbed , for shame put on your gown ! Your heart is burst , you have lost half your soul , Even now , now , very now , an old black ram Is ...
Obsah
1 | |
11 | |
30 | |
lago | 53 |
The Fall of Othello | 79 |
The Pity Act | 113 |
Death without Transfiguration | 141 |
Interpretation as Contamination | 169 |
Character Endures | 183 |
Notes | 193 |
Works Cited | 231 |
Index | 247 |
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acknowledge Actors anxiety argument audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's 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 feel gender Hamlet Hankey Honigmann Iago Iago's idea identity interest interpretive traditions King Lear lago Lear Leavis literary Macready marriage meaning Michael Neill mind 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 Ridley's Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests sustained Temptation Scene textual theater theatrical thing thou tion tragic Tynan Venetian villain whore women words