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 3
... fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified setting , or it dimin- ished the play's power to generate the response ...
... fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified setting , or it dimin- ished the play's power to generate the response ...
Strana 37
... fit Venice as well , and the results are " extremely complex " indeed . The conflict between Ve- netian and Turk defines the play's foundation , but since each of the terms reproduces the conflict in itself , the foundation tends to ...
... fit Venice as well , and the results are " extremely complex " indeed . The conflict between Ve- netian and Turk defines the play's foundation , but since each of the terms reproduces the conflict in itself , the foundation tends to ...
Strana 45
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
Strana 46
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
Strana 52
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
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