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 7
... theater history ( I include myself in this category ) is bound to be struck with the self- enclosed and self - referential nature of theatrical meaning , in which vari- ous histrionic gestures or production decisions are defined against ...
... theater history ( I include myself in this category ) is bound to be struck with the self- enclosed and self - referential nature of theatrical meaning , in which vari- ous histrionic gestures or production decisions are defined against ...
Strana 9
... theater history here is conceptually secondary to a text- centered sense of the play's possibilities . Performance does get roughly equal attention in chapter 1's synopsis of the play's theatrical and critical history , and again in ...
... theater history here is conceptually secondary to a text- centered sense of the play's possibilities . Performance does get roughly equal attention in chapter 1's synopsis of the play's theatrical and critical history , and again in ...
Strana 23
... theater developed , but her point is that a play is not a political tract or a medical textbook or a legal com- mentary ; it is a play . Although a play can be a window onto a different culture and strange past , it serves as a cultural ...
... theater developed , but her point is that a play is not a political tract or a medical textbook or a legal com- mentary ; it is a play . Although a play can be a window onto a different culture and strange past , it serves as a cultural ...
Strana 24
... theaters and even readers , separated not just historically but phenomenologically from the plays ' original re- ception conditions , could nonetheless feel that Shakespeare was talking directly to them . Hence McLuskie's claim for the ...
... theaters and even readers , separated not just historically but phenomenologically from the plays ' original re- ception conditions , could nonetheless feel that Shakespeare was talking directly to them . Hence McLuskie's claim for the ...
Strana 37
... theater , is at once where you dream of being and where you fear you already are , a " dangerously alien " and an " exoti- cally attractive " image at the same time : D'Amico's words to describe Elizabethan feelings toward the Moors ...
... theater , is at once where you dream of being and where you fear you already are , a " dangerously alien " and an " exoti- cally attractive " image at the same time : D'Amico's words to describe Elizabethan feelings toward the Moors ...
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