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 4
... actor who was playing the Moor. (Othello, 12) Conversely, when the Russian actor Alexander Ostuzhev (1874-1953) voiced Othello's bloody threats in his last speech, a man in the audience shouted: “It wasn't his fault: his kind of love ...
... actor who was playing the Moor. (Othello, 12) Conversely, when the Russian actor Alexander Ostuzhev (1874-1953) voiced Othello's bloody threats in his last speech, a man in the audience shouted: “It wasn't his fault: his kind of love ...
Strana 6
... Othello criticism has moved from erasure to emancipation. Yet Othello is a paroxysm of paradoxes. The play resists the therapeutic and the cathartic. It eschews synthesis. John Bayley is only partially right: “The whole tendency of Othello ...
... Othello criticism has moved from erasure to emancipation. Yet Othello is a paroxysm of paradoxes. The play resists the therapeutic and the cathartic. It eschews synthesis. John Bayley is only partially right: “The whole tendency of Othello ...
Strana 9
... Othello. Jan Kott pointed out that “Othello turned out to be Shakespeare's most 'nineteenth-century play.' Not only was it the most romantic of the plays, Othello fitted all nineteenth-century theatres: it was a play, an opera, a ...
... Othello. Jan Kott pointed out that “Othello turned out to be Shakespeare's most 'nineteenth-century play.' Not only was it the most romantic of the plays, Othello fitted all nineteenth-century theatres: it was a play, an opera, a ...
Strana 11
... Othello was “an adult personality . . . manifesting the classic signs of an ... Othello: Old and New,” Virginia Mason Vaughan helpfully concluded, “Whether ... played out between Othello and Iago” (“Post-Structuralist Shakespeare,” 59) ...
... Othello was “an adult personality . . . manifesting the classic signs of an ... Othello: Old and New,” Virginia Mason Vaughan helpfully concluded, “Whether ... played out between Othello and Iago” (“Post-Structuralist Shakespeare,” 59) ...
Strana 15
... Othello's character. Leo Africanus, one of the “most widely translated and reprinted” authors in Europe (Parker, “Fantasies,” 84), was a converted Moor as was Othello ... plays, masques, and pageants by Shakespeare's contemporaries from ...
... Othello's character. Leo Africanus, one of the “most widely translated and reprinted” authors in Europe (Parker, “Fantasies,” 84), was a converted Moor as was Othello ... plays, masques, and pageants by Shakespeare's contemporaries from ...
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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