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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... Olivier as Othello, 1964. Photograph by Angus McBean. @ The Harvard Theatre Collection. The Houghton Library. Library of Congress Cataloging-in-Publication Data Othello: new critical essays / edited by Philip C. Kolin. p. cm ...
... Olivier as Othello, 1964. Photograph by Angus McBean. @ The Harvard Theatre Collection. The Houghton Library. Library of Congress Cataloging-in-Publication Data Othello: new critical essays / edited by Philip C. Kolin. p. cm ...
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... Olivier learned when he countered Ralph Richardson's Othello in 1937 with a fandango of homoerotic behaviors that London audiences neither understood nor approved. Beyond doubt, though, Iago is mired in things of the Blackness Made ...
... Olivier learned when he countered Ralph Richardson's Othello in 1937 with a fandango of homoerotic behaviors that London audiences neither understood nor approved. Beyond doubt, though, Iago is mired in things of the Blackness Made ...
Strana 34
... Olivier, who also performed the part with an aggressively sexual and . . . assertively foreign body” (Pechter, Othello, 99). Yet Salvini's own ethnic identity—his “foreign body”~bled through his Othello, contributing to and reinforcing ...
... Olivier, who also performed the part with an aggressively sexual and . . . assertively foreign body” (Pechter, Othello, 99). Yet Salvini's own ethnic identity—his “foreign body”~bled through his Othello, contributing to and reinforcing ...
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... Olivier's Othello on the London stage in 1964 was coal black, and when some of his make-up came off in touching the snow-white Desdmona, played by Maggie Smith, critics questioned whether any white actor should ever take the role again ...
... Olivier's Othello on the London stage in 1964 was coal black, and when some of his make-up came off in touching the snow-white Desdmona, played by Maggie Smith, critics questioned whether any white actor should ever take the role again ...
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... Olivier as dark-skinned Africans. Though Orson Welles's Othello in 1951 was described by the Spectator as “Very large, very black, very sonorous [but] insufficiently volcanic” (quoted in Rosenberg, 148), in point of fact he was not ...
... Olivier as dark-skinned Africans. Though Orson Welles's Othello in 1951 was described by the Spectator as “Very large, very black, very sonorous [but] insufficiently volcanic” (quoted in Rosenberg, 148), in point of fact he was not ...
Obsah
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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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