Othello: Critical EssaysPhilip Kolin Routledge, 11. 1. 2013 - Počet stran: 472 Including twenty-one groundbreaking chapters that examine one of Shakespeare's most complex tragedies. Othello: Critical Essays explores issues of friendship and fealty, love and betrayal, race and gender issues, and much more. |
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Strana 9
... African, as Barbara Everett maintains (“'Spanish' Othello,” 101)? Later in this collection, James Andreas traces Othello's Judaic roots. Is Othello's hybridism a garland of distinction or a stigma of shame? How much can we take ...
... African, as Barbara Everett maintains (“'Spanish' Othello,” 101)? Later in this collection, James Andreas traces Othello's Judaic roots. Is Othello's hybridism a garland of distinction or a stigma of shame? How much can we take ...
Strana 14
... African ancestry to engage in mimetic performance, should not be underestimated” (Callaghan, “Othello was a White Man,” 214). So, too, with Othello's honor. Peter Erickson explores the cultural interpretations of white/black in the play ...
... African ancestry to engage in mimetic performance, should not be underestimated” (Callaghan, “Othello was a White Man,” 214). So, too, with Othello's honor. Peter Erickson explores the cultural interpretations of white/black in the play ...
Strana 15
... Africans,” in most of those works the black characters hold high social positions, and in the plays, most marry white women. Although black characters such as Aaron in Titus are frequently negatively portrayed, not all were. In fact ...
... Africans,” in most of those works the black characters hold high social positions, and in the plays, most marry white women. Although black characters such as Aaron in Titus are frequently negatively portrayed, not all were. In fact ...
Strana 31
... African coast in the seventeenth century” (Kennedy, “Introduction,” 2). Throughout the Restoration and eighteenth century, actors continued to portray Othello as comfortably black, stressing his African origins and customs ...
... African coast in the seventeenth century” (Kennedy, “Introduction,” 2). Throughout the Restoration and eighteenth century, actors continued to portray Othello as comfortably black, stressing his African origins and customs ...
Strana 32
... Africa, an African of the highest nobility of heritage. From Kean on, he was made a light-skinned Moor because Western Europe had made Africa a slave center, and the African was seen as a slave. English critics seeing a black Othello ...
... Africa, an African of the highest nobility of heritage. From Kean on, he was made a light-skinned Moor because Western Europe had made Africa a slave center, and the African was seen as a slave. English critics seeing a black Othello ...
Obsah
1 | |
The Audiences Role in Othello | 89 |
The Production of Race in Othello | 103 |
Images of White Identity in Othello | 133 |
Roderigo and the Mixed Dramaturgy of Race and Gender in Othello | 147 |
Othellos Judaic Ancestry | 169 |
The State and the Subject of Othello | 189 |
Venetian Ideology or Transversal Power? Iagos Motives and the Means by which Othello Falls | 203 |
Early Modern Jury Trials and the Equitable Judgments of Tragedy | 293 |
Othello Among the Sonnets | 325 |
Tropes of Damnation and Nothingness | 347 |
A Semiotics of Eyeconography in Othello | 363 |
Physiologies and Anatomies in Othello | 379 |
Reading Othello Backwards | 391 |
The Mystery of the Early Othello Texts | 401 |
Stage Violence in Othello | 425 |
Portrait of a Marriage | 221 |
Desdemona Emilia and the Doctrine of Obedience in Othello | 233 |
Morality Ethics and the Failure of Love in Shakespeares Othello | 255 |
Water Imagery and Religious Diversity in Othello | 271 |
An Interview with Kent Thompson Artistic Director of the Alabama Shakespeare Festival | 441 |
Notes on the Contributors | 456 |
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