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 16
... Leavis who systematically developed Eliot's point about Othello's final speech , projecting this view backward to reveal a protagonist who “ has from the beginning responded " with a self - dramatizing egotism : as early as the opening ...
... Leavis who systematically developed Eliot's point about Othello's final speech , projecting this view backward to reveal a protagonist who “ has from the beginning responded " with a self - dramatizing egotism : as early as the opening ...
Strana 17
Edward Pechter. difference of views between Bradley and Leavis becomes oddly in- tertwined with the drama played out between Othello and Iago . Leavis conceives himself as speaking up for a tough - minded realist assessment of the play ...
Edward Pechter. difference of views between Bradley and Leavis becomes oddly in- tertwined with the drama played out between Othello and Iago . Leavis conceives himself as speaking up for a tough - minded realist assessment of the play ...
Strana 18
... Leavis , he evokes the authority of “ everyone's familiar knowledge about love , marriage and attraction between men ... Leavis may be joined to Leavis's with Bradley at the foun- dation of twentieth - century critical response to the ...
... Leavis , he evokes the authority of “ everyone's familiar knowledge about love , marriage and attraction between men ... Leavis may be joined to Leavis's with Bradley at the foun- dation of twentieth - century critical response to the ...
Strana 20
... Leavis's Iago , Holloway is much more fully cognizant than his adversary of the risks involved ; but the understanding produces no practical benefits . Able to analyze Othello's " whole tendency ... to make us partisan , ” he still has ...
... Leavis's Iago , Holloway is much more fully cognizant than his adversary of the risks involved ; but the understanding produces no practical benefits . Able to analyze Othello's " whole tendency ... to make us partisan , ” he still has ...
Strana 21
... Leavis , Eliot , Bradley , Preston , Coleridge , and the other intensely engaged and frequently enraged readers and audiences of this play going back to Thomas Rymer and Henry Jackson . Whatever their peculiarities , these witnesses all ...
... Leavis , Eliot , Bradley , Preston , Coleridge , and the other intensely engaged and frequently enraged readers and audiences of this play going back to Thomas Rymer and Henry Jackson . Whatever their peculiarities , these witnesses all ...
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