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 2
... King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to design a new capstone English course for grade 12 , selects ...
... King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to design a new capstone English course for grade 12 , selects ...
Strana 14
... King Lear , the chief competitor to Othello in its capacity to afflict audiences , and the connection was clearly on A. C. Bradley's mind in the remark I quoted in the introduction , seeking to explain " the pe- culiarity " of the play ...
... King Lear , the chief competitor to Othello in its capacity to afflict audiences , and the connection was clearly on A. C. Bradley's mind in the remark I quoted in the introduction , seeking to explain " the pe- culiarity " of the play ...
Strana 25
... Lear without the old kind king " ) . Iago is not . Othello is unique in its dramatic structure and emotional economy . Nowhere else does Shakespeare divide the central space of a tragedy between two inhabitants with different but ...
... Lear without the old kind king " ) . Iago is not . Othello is unique in its dramatic structure and emotional economy . Nowhere else does Shakespeare divide the central space of a tragedy between two inhabitants with different but ...
Strana 155
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
Strana 204
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