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 3
... speech” (3.3)—audiences were “reduced . . . to tears” (Cowhig, “The Importance of Othello's Race,” 158). Yet audiences have not been content merely to be wailing walls of pity or frozen columns of terror. Othello is so explosive that it ...
... speech” (3.3)—audiences were “reduced . . . to tears” (Cowhig, “The Importance of Othello's Race,” 158). Yet audiences have not been content merely to be wailing walls of pity or frozen columns of terror. Othello is so explosive that it ...
Strana 4
... speech, a man in the audience shouted: “It wasn't his fault: his kind of love could burn up a city.” This last incident raises one of the most crucial questions for readers/audiences about the play. Is Othello a criminal, or simply a ...
... speech, a man in the audience shouted: “It wasn't his fault: his kind of love could burn up a city.” This last incident raises one of the most crucial questions for readers/audiences about the play. Is Othello a criminal, or simply a ...
Strana 10
... speech (“Soft you, a word or two before you go”), Eliot declared: What Othello seems to me to be doing in making this speech is cheering himself up. He is endeavouring to escape reality, he has ceased to think about Desdemona, and is ...
... speech (“Soft you, a word or two before you go”), Eliot declared: What Othello seems to me to be doing in making this speech is cheering himself up. He is endeavouring to escape reality, he has ceased to think about Desdemona, and is ...
Strana 16
... speech” (Bradley, 147). Yet in contemporary productions actors have frequently empowered her through bold deeds and even bolder words, recouping for her greater participation in the tragedy. In Trevor Nunn's production in 1990 in ...
... speech” (Bradley, 147). Yet in contemporary productions actors have frequently empowered her through bold deeds and even bolder words, recouping for her greater participation in the tragedy. In Trevor Nunn's production in 1990 in ...
Strana 19
... speeches about Othello (called more often by the racial categorization “The Moor”), Desdemona “simultaneously confirms that, in Venice, or among Venetians, [Othello] will never be considered anything other than an instance of that race ...
... speeches about Othello (called more often by the racial categorization “The Moor”), Desdemona “simultaneously confirms that, in Venice, or among Venetians, [Othello] will never be considered anything other than an instance of that race ...
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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