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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Výsledky 1-5 z 67
Strana 5
... speech functions like free indirect discourse : a tissue of clichés and proverbs belonging to nobody in par- ticular and everybody in general , it becomes absorbed into an amor- phous " honesty " - “ a whispering , " as Kenneth Burke ...
... speech functions like free indirect discourse : a tissue of clichés and proverbs belonging to nobody in par- ticular and everybody in general , it becomes absorbed into an amor- phous " honesty " - “ a whispering , " as Kenneth Burke ...
Strana 6
... speech , “ What you know , you know " ( 5.2.300 ) . One consequence of this argument is to blur if not totally erase the distinction between Othello and its interpretive traditions . If critical re- flection on the play winds up ...
... speech , “ What you know , you know " ( 5.2.300 ) . One consequence of this argument is to blur if not totally erase the distinction between Othello and its interpretive traditions . If critical re- flection on the play winds up ...
Strana 16
... speech always struck him as an attempt at " cheering himself up . ” Designating this attitude as “ bovarysme , the human will to see things as they are not , " Eliot deftly reduces the Noble Moor of received opinion to a feminized and ...
... speech always struck him as an attempt at " cheering himself up . ” Designating this attitude as “ bovarysme , the human will to see things as they are not , " Eliot deftly reduces the Noble Moor of received opinion to a feminized and ...
Strana 17
... speech reveals Othello's " voluptuous sensuality , " Holloway sharply disagrees : — These words do no such thing . What Dr Leavis takes as the decisive proof of how Othello's love is at bottom voluptuous sensuality is no proof at all ...
... speech reveals Othello's " voluptuous sensuality , " Holloway sharply disagrees : — These words do no such thing . What Dr Leavis takes as the decisive proof of how Othello's love is at bottom voluptuous sensuality is no proof at all ...
Strana 18
... speech to a presumed consensus allows Holloway to play fast and loose with the speech itself . It is hard to see what Othello can be acknowledging in refusing to speak to Desdemona if not precisely his experience of her attractiveness ...
... speech to a presumed consensus allows Holloway to play fast and loose with the speech itself . It is hard to see what Othello can be acknowledging in refusing to speak to Desdemona if not precisely his experience of her attractiveness ...
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