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
... audience , Mitchell Greenberg sees much the same thing : Othello has a peculiar power " to haunt us as an uncanny projection , from the past , of our conflicted present " ( 1 ) . Conflict , though , is not unique to Othello ; we need to ...
... audience , Mitchell Greenberg sees much the same thing : Othello has a peculiar power " to haunt us as an uncanny projection , from the past , of our conflicted present " ( 1 ) . Conflict , though , is not unique to Othello ; we need to ...
Strana 4
... audiences at academic lectures to be attentively silent . In this respect , he was performing the transgressive action re ... audience be convinced of his claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex ...
... audiences at academic lectures to be attentively silent . In this respect , he was performing the transgressive action re ... audience be convinced of his claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex ...
Strana 6
... audiences and our relation to inherited interpretive traditions . Feminist , African American , and postcolonialist critics have jettisoned some of their origi- nal emancipatory claims , but not the absolutely foundational one of ...
... audiences and our relation to inherited interpretive traditions . Feminist , African American , and postcolonialist critics have jettisoned some of their origi- nal emancipatory claims , but not the absolutely foundational one of ...
Strana 9
... audiences over such a long pe- riod of time to acknowledge ( or indeed refuse ) racial ( and related sorts of ) anxieties . And again : this book is more practical criticism than the- ater history . Despite the equivalence just earlier ...
... audiences over such a long pe- riod of time to acknowledge ( or indeed refuse ) racial ( and related sorts of ) anxieties . And again : this book is more practical criticism than the- ater history . Despite the equivalence just earlier ...
Strana 11
... audience's emo- tions , Jackson sets the tone for a tradition of response that continues more or less unbroken to our own day . The stage history of Othello is full of stories about audiences so disturbed that they could not contain ...
... audience's emo- tions , Jackson sets the tone for a tradition of response that continues more or less unbroken to our own day . The stage history of Othello is full of stories about audiences so disturbed that they could not contain ...
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