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
... tableau of Othello and Desdemona locked in a perverse embrace on the marriage bed revealed finally as the place of murder . " Traditions " in this book's title introduces a different { 2 } Othello and Interpretive Traditions.
... tableau of Othello and Desdemona locked in a perverse embrace on the marriage bed revealed finally as the place of murder . " Traditions " in this book's title introduces a different { 2 } Othello and Interpretive Traditions.
Strana 3
... murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified setting , or it dimin- ished the play's power to generate the response appropriate to heroic tragedy , or ...
... murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified setting , or it dimin- ished the play's power to generate the response appropriate to heroic tragedy , or ...
Strana 24
... murder of his wife and his own torture and suicide at the end so dreadful as " not to be endured . " 13 Instead of themes , we might focus on the dramatic action as it un- folds before us , and we might ask which of the characters speak ...
... murder of his wife and his own torture and suicide at the end so dreadful as " not to be endured . " 13 Instead of themes , we might focus on the dramatic action as it un- folds before us , and we might ask which of the characters speak ...
Strana 86
U této knihy jste dosáhli svého limitního počtu zobrazení..
U této knihy jste dosáhli svého limitního počtu zobrazení..
Strana 100
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