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
... identity , the source of his charismatic power to excite interest and to generate horror . As Mythili Kaul puts it , introducing a collection of new essays by black writers on the play , " All the contributors❞ see Othello as " of ...
... identity , the source of his charismatic power to excite interest and to generate horror . As Mythili Kaul puts it , introducing a collection of new essays by black writers on the play , " All the contributors❞ see Othello as " of ...
Strana 22
... identity or of sexual desire . There is good evidence to believe that Shakespeare's audience did not identify human nature in terms of a core racial or sexual self . In fact , the very concept of an inner core of being , however ...
... identity or of sexual desire . There is good evidence to believe that Shakespeare's audience did not identify human nature in terms of a core racial or sexual self . In fact , the very concept of an inner core of being , however ...
Strana 34
... identities from the ideas systematically deployed by scientists during the nineteenth century ( the same period when , as a parallel development , the debate raged whether to play Othel- lo as “ a black African " or " a tawny Moor ...
... identities from the ideas systematically deployed by scientists during the nineteenth century ( the same period when , as a parallel development , the debate raged whether to play Othel- lo as “ a black African " or " a tawny Moor ...
Strana 38
... identity , as between black and white , self and other , seem to be collapsing even now , now , very now — into a monstrous undif- ferentiation.13 — To judge from the immediately following scenes , Othello labors so consistently hard in ...
... identity , as between black and white , self and other , seem to be collapsing even now , now , very now — into a monstrous undif- ferentiation.13 — To judge from the immediately following scenes , Othello labors so consistently hard in ...
Strana 55
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