Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - Počet stran: 272 During the past twenty years or so, Othello has become the Shakespearean tragedy that speaks most powerfully to our contemporary concerns. Focusing on race and gender (and on class, ethnicity, sexuality, and nationality), the play talks about what audiences want to talk about. Yet at the same time, as refracted through Iago, it forces us to hear what we do not want to hear; like the characters in the play, we become trapped in our own prejudicial malice and guilt. |
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Strana xi
... Othello as they developed and who were not bashful about advancing their own . Let one stand for all , the young woman who interrupted my earnest plea about the need to historicize in order to appreciate the power of Desdemona's public ...
... Othello as they developed and who were not bashful about advancing their own . Let one stand for all , the young woman who interrupted my earnest plea about the need to historicize in order to appreciate the power of Desdemona's public ...
Strana 1
... Othello and O. J. Simpson : black male and white woman , history of spousal abuse , mur- der of wife and friend , claims to have loved his wife ' too much , ' etc. ? " The author of these words , a Shakespearean who teaches at a ...
... Othello and O. J. Simpson : black male and white woman , history of spousal abuse , mur- der of wife and friend , claims to have loved his wife ' too much , ' etc. ? " The author of these words , a Shakespearean who teaches at a ...
Strana 2
... Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly ...
... Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly ...
Strana 3
... Othello remains in many ways a strange play , lodged in a past whose beliefs and assumptions are not easily accommodated to our own . The SHAKSPER discussion suggests as much . Most of it was motivated by the belief that the presumed ...
... Othello remains in many ways a strange play , lodged in a past whose beliefs and assumptions are not easily accommodated to our own . The SHAKSPER discussion suggests as much . Most of it was motivated by the belief that the presumed ...
Strana 4
... Othello , some of which I shall discuss in chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's outburst , I believe ...
... Othello , some of which I shall discuss in chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's outburst , I believe ...
Obsah
Othello in Theatrical and Critical History | 11 |
Disconfinuation | 30 |
lago | 53 |
The Fall of Othello | 79 |
The Pity Act | 113 |
Death without Transfiguration | 141 |
Interpretation as Contamination | 169 |
Character Endures | 183 |
Notes | 193 |
Works Cited | 231 |
247 | |
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acknowledge action Actors anxiety audience Bamber Gascoigne beginning belief Bianca Bob Hoskins Booth Brabantio Bradley Bradley's Cambridge University Press Carlisle Cassio century character claim Coleridge Coleridge's commentary contemporary context critical cultural Cyprus demona Desdemona desire devil dramatic earlier echoes Edwin Booth effect Emilia emphasis Empson essay evoke Fechter feel gender Hamlet Hankey Honigmann Iago Iago's idea identity imagination interest interpretive traditions King Lear lago Lear Leavis literary London marriage meaning Michael Neill modern Moor murder nature Neill Newman nineteenth nineteenth-century nonetheless norms original Othello Othello and Desdemona passage Patrick Stewart performance perhaps pharmakos play play's production protagonist question quoted racial Ralph Crane remarks Renaissance response Ridley Roderigo role Rymer says seems sense sexual Shakespeare Shakespearean Tragedy soliloquy speak speech Sprague stage suggests Temptation Scene textual Theatre theatrical thing tion tragic Tynan villain whore women words