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 88
Strana
... there for me with prompt and smart and funny answers to my questions . I am very grateful to Thomas Postlewait , who took a lot of time from his own work in order to locate this book closer to theat- rical history and further away from ...
... there for me with prompt and smart and funny answers to my questions . I am very grateful to Thomas Postlewait , who took a lot of time from his own work in order to locate this book closer to theat- rical history and further away from ...
Strana 4
... there were some monster in thy thought " [ 3.3.109-110 ] ) , you might even be- gin to wonder about yourself . Even without my parenthetical quotations and my reference to the play's performance history , I would hope that by now ...
... there were some monster in thy thought " [ 3.3.109-110 ] ) , you might even be- gin to wonder about yourself . Even without my parenthetical quotations and my reference to the play's performance history , I would hope that by now ...
Strana 5
... play , trapped inside the reproduction of his con- taminated and contaminating malice . There seems to be no effective critical purchase on Iago , no judicious higher knowledge by Othello and Interpretive Traditions { 5 }
... play , trapped inside the reproduction of his con- taminated and contaminating malice . There seems to be no effective critical purchase on Iago , no judicious higher knowledge by Othello and Interpretive Traditions { 5 }
Strana 7
... there replicates a move of Olivier's which ultimately derives from Macklin . . . " ) . But theatrical culture is , after all , only " relatively autonomous " ; it is , willy - nilly , part of culture more comprehensively defined . Hence ...
... there replicates a move of Olivier's which ultimately derives from Macklin . . . " ) . But theatrical culture is , after all , only " relatively autonomous " ; it is , willy - nilly , part of culture more comprehensively defined . Hence ...
Strana 8
... There is a third possibility apart from theatrical and cultural history , derived from a reversal of the procedures that generate these two prac- tices . Instead of emphasizing the distinct and momentary impressions of theatrical ...
... There is a third possibility apart from theatrical and cultural history , derived from a reversal of the procedures that generate these two prac- tices . Instead of emphasizing the distinct and momentary impressions of theatrical ...
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