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. |
Vyhledávání v knize
Výsledky 1-5 z 92
Strana vii
... Stage, and on Screen PHILIP C. KOLIN The Audience's Role in Othello 89 HUGH MACRAE RICHMOND White Faces, Blackface: 103 The Production of “Race” in Othello SUJATA IYENOAR Images of White Identity in Othello 133 PETER ERICKSON “Words and ...
... Stage, and on Screen PHILIP C. KOLIN The Audience's Role in Othello 89 HUGH MACRAE RICHMOND White Faces, Blackface: 103 The Production of “Race” in Othello SUJATA IYENOAR Images of White Identity in Othello 133 PETER ERICKSON “Words and ...
Strana viii
... Stage Violence in Othello FRANCIS X. KUHN An Interview With Kent Thompson, 441 Artistic Director of the Alabama Shakespeare Festival PHILIP C. KOLIN Notes on the Contributors 457 Acknowledgments Iago may have been wrong on most things ...
... Stage Violence in Othello FRANCIS X. KUHN An Interview With Kent Thompson, 441 Artistic Director of the Alabama Shakespeare Festival PHILIP C. KOLIN Notes on the Contributors 457 Acknowledgments Iago may have been wrong on most things ...
Strana 1
... Stage, and on Screen PHILIP C. KOLIN In what must be the most egregious understatement in Othello criticism, William Hazlitt wrote in 1817 that the play “excites our sympathy in an extraordinary degree.” Exceeding Hazlitt's enthusiasm ...
... Stage, and on Screen PHILIP C. KOLIN In what must be the most egregious understatement in Othello criticism, William Hazlitt wrote in 1817 that the play “excites our sympathy in an extraordinary degree.” Exceeding Hazlitt's enthusiasm ...
Strana 4
... Stage Would Expect Protest in America.” In this story, Robeson was quoted as saying: “If any one does object to our [his and Peggy Ashcroft's Desdemona's] love making, the objection almost certainly will have to come from America.” In ...
... Stage Would Expect Protest in America.” In this story, Robeson was quoted as saying: “If any one does object to our [his and Peggy Ashcroft's Desdemona's] love making, the objection almost certainly will have to come from America.” In ...
Strana 6
... stage might conveniently be seen as a continuing question of whose play is it— Othello's? Iago's? Iagothello's? Playing in repertoire, actors have often switched roles, one night taking Othello, the next Iago, as Edwin Booth and Henry ...
... stage might conveniently be seen as a continuing question of whose play is it— Othello's? Iago's? Iagothello's? Playing in repertoire, actors have often switched roles, one night taking Othello, the next Iago, as Edwin Booth and Henry ...
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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