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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Výsledky 1-5 z 29
Strana xi
... discussion . Parts of chapter 4 and the appendix , chapter 5 , and the afterword appeared in earlier versions as " Have you not read of some such thing ? ' : Sex and Sexual Stories in Othello , " Shakespeare Survey 49 ( Cambridge ...
... discussion . Parts of chapter 4 and the appendix , chapter 5 , and the afterword appeared in earlier versions as " Have you not read of some such thing ? ' : Sex and Sexual Stories in Othello , " Shakespeare Survey 49 ( Cambridge ...
Strana 1
... discussion group called SHAKSPER , many of whose subscribers had probably made the connection to which he was referring , all of whom were now obliged to consider its implications . 1 A discussion began im- mediately under the rubric of ...
... discussion group called SHAKSPER , many of whose subscribers had probably made the connection to which he was referring , all of whom were now obliged to consider its implications . 1 A discussion began im- mediately under the rubric of ...
Strana 3
... discussion suggests as much . Most of it was motivated by the belief that the presumed fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially ...
... discussion suggests as much . Most of it was motivated by the belief that the presumed fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially ...
Strana 4
... 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 , was an intuition that anyone ...
... 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 , was an intuition that anyone ...
Strana 9
... discussing the last four acts of the play ( as we have become accustomed since at least Rowe to des- ignating them ) . But in chapter 2 , about the play's opening and ( I believe ) foundational actions , the discussion is grounded ...
... discussing the last four acts of the play ( as we have become accustomed since at least Rowe to des- ignating them ) . But in chapter 2 , about the play's opening and ( I believe ) foundational actions , the discussion is grounded ...
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