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 vii
... Blackface: 103 The Production of “Race” in Othello SUJATA IYENOAR Images of White Identity in Othello 133 PETER ERICKSON “Words and Performances”: 147 Roderigo and the Mixed Dramaturgy of Race and Gender in Othello JOHN R. FORD The ...
... Blackface: 103 The Production of “Race” in Othello SUJATA IYENOAR Images of White Identity in Othello 133 PETER ERICKSON “Words and Performances”: 147 Roderigo and the Mixed Dramaturgy of Race and Gender in Othello JOHN R. FORD The ...
Strana 6
... (Black Face, Malignea1 Race, 70) On the other hand, If we heed Iago too greedily, we court still other discomfitures. As Ania Loomba contends, the ensign is the agency for indicting the audience, the catalyst for its own undoing: Iago ...
... (Black Face, Malignea1 Race, 70) On the other hand, If we heed Iago too greedily, we court still other discomfitures. As Ania Loomba contends, the ensign is the agency for indicting the audience, the catalyst for its own undoing: Iago ...
Strana 13
... Black Face, Maligned Race; Ania Loomba's Shakespeare and Race; Eldred Jones's Othello Is Countrjymen; Shakespeare and Race, edited by Catherine Alexander and Stanley Wells. See also vol. 26 of Shakespeare Studies (1998) which is devoted ...
... Black Face, Maligned Race; Ania Loomba's Shakespeare and Race; Eldred Jones's Othello Is Countrjymen; Shakespeare and Race, edited by Catherine Alexander and Stanley Wells. See also vol. 26 of Shakespeare Studies (1998) which is devoted ...
Strana 20
... black face” (Kennedy, Looking at Shakespeare, 90). Studying “Transvestism and the 'Body Beneath,' ” Peter Stallybrass argues that casting a boy actor as Desdemona, who undresses (“unpins”) in act 4.3, leaves an audience “unsettled ...
... black face” (Kennedy, Looking at Shakespeare, 90). Studying “Transvestism and the 'Body Beneath,' ” Peter Stallybrass argues that casting a boy actor as Desdemona, who undresses (“unpins”) in act 4.3, leaves an audience “unsettled ...
Strana 31
... black face, made such a magpye appearance of his head, as tends greatly to laughter” (quoted in Kaul, “Background,” 3). Years later, even though Charles Fetcher appeared in blackface, he offered audiences an ethnically different Othello ...
... black face, made such a magpye appearance of his head, as tends greatly to laughter” (quoted in Kaul, “Background,” 3). Years later, even though Charles Fetcher appeared in blackface, he offered audiences an ethnically different 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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