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
... Edwin Booth , Helena Faucit , Thomas Rymer , Laurence Fishburne , Stephen Greenblatt , Henry Jackson , and Karen Newman , a list that could be extended almost indefinitely and supplemented with yet another list , itself almost ...
... Edwin Booth , Helena Faucit , Thomas Rymer , Laurence Fishburne , Stephen Greenblatt , Henry Jackson , and Karen Newman , a list that could be extended almost indefinitely and supplemented with yet another list , itself almost ...
Strana 12
... Edwin Forrest , one of the memorable American Othellos in the nineteenth century , whose performance provoked “ a ... Booth , who on one occasion " would have smothered Desdemona in earnest if the other actors had not rushed in from the ...
... Edwin Forrest , one of the memorable American Othellos in the nineteenth century , whose performance provoked “ a ... Booth , who on one occasion " would have smothered Desdemona in earnest if the other actors had not rushed in from the ...
Strana 26
... Edwin Booth , among others , at a time when the star system made sure that leading actors concentrated their efforts on leading parts . The role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 ...
... Edwin Booth , among others , at a time when the star system made sure that leading actors concentrated their efforts on leading parts . The role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 ...
Strana 55
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
Strana 95
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