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. |
Vyhledávání v knize
Výsledky 1-5 z 31
Strana 7
... roles between Kean and Macready , the former play- ing Othello as the " tawny Moor " he had introduced in 1814 , the latter in blackface ; Ira Aldridge , the " African Roscius , " offering the first black performance of the role on the ...
... roles between Kean and Macready , the former play- ing Othello as the " tawny Moor " he had introduced in 1814 , the latter in blackface ; Ira Aldridge , the " African Roscius , " offering the first black performance of the role on the ...
Strana 12
... roles being performed ( " the celebrated Desde- mona , " " a [ noble ] Moor " ) . Perhaps the most striking instance of such ... role continually against the background of a divorce case which dragged on for eighteen years , prompting a ...
... roles being performed ( " the celebrated Desde- mona , " " a [ noble ] Moor " ) . Perhaps the most striking instance of such ... role continually against the background of a divorce case which dragged on for eighteen years , prompting a ...
Strana 13
... roles other than Othello , and off the stage as well as on . For Forrest " certain of his principle roles , " not just Othello , “ became briefs for the defense " in his divorce , and again as part of a pattern of jealous ambivalence ...
... roles other than Othello , and off the stage as well as on . For Forrest " certain of his principle roles , " not just Othello , “ became briefs for the defense " in his divorce , and again as part of a pattern of jealous ambivalence ...
Strana 26
... role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 , Irving and Booth in 1881 , for examples ) . These arrangements transferred the approximately equal competition between the characters in the ...
... role - swapping arrangements get at the same point ( Macready and Charles Mayne Young in 1816 , Irving and Booth in 1881 , for examples ) . These arrangements transferred the approximately equal competition between the characters in the ...
Strana 27
... role dominated during the first half of the century . But by the time Irving and Booth traded roles in 1881 , in performances that " revealed two masterly Iagos and two unsatisfactory Othellos " ( Odell , 376 ) , 18 things had changed ...
... role dominated during the first half of the century . But by the time Irving and Booth traded roles in 1881 , in performances that " revealed two masterly Iagos and two unsatisfactory Othellos " ( Odell , 376 ) , 18 things had changed ...
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