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
... action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ; the stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's ...
... action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ; the stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's ...
Strana ix
... action- and fractures its at- tractive power equally between the protagonist and the antagonist . This design has made harsh and perhaps impossible demands on theat- rical production ; the stage history of the play may be plotted as a ...
... action- and fractures its at- tractive power equally between the protagonist and the antagonist . This design has made harsh and perhaps impossible demands on theat- rical production ; the stage history of the play may be plotted as a ...
Strana x
... action of the play in a way that tries to account for its tremendous power over the centuries to engage theatrical and literary interest . In one important respect , though , the theoretical collapse of dif- ferences continues to ...
... action of the play in a way that tries to account for its tremendous power over the centuries to engage theatrical and literary interest . In one important respect , though , the theoretical collapse of dif- ferences continues to ...
Strana 4
... action re- counted in endlessly repeated anecdotes from the performance history of 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 ...
... action re- counted in endlessly repeated anecdotes from the performance history of 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 ...
Strana 7
... action there replicates a move of Olivier's which ultimately derives from Macklin ... " ) . But theatrical culture is , after all , only " relatively autonomous " ; it is , willy - nilly , part of culture more comprehensively defined ...
... action there replicates a move of Olivier's which ultimately derives from Macklin ... " ) . But theatrical culture is , after all , only " relatively autonomous " ; it is , willy - nilly , part of culture more comprehensively defined ...
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