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 ix
... earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi- nal production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action ...
... earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi- nal production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action ...
Strana x
... earlier , claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is we can see as the play . The chicken / egg question here cannot be resolved on its own terms . As a theoretical ...
... earlier , claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is we can see as the play . The chicken / egg question here cannot be resolved on its own terms . As a theoretical ...
Strana xi
... earlier versions as " Have you not read of some such thing ? ' : Sex and Sexual Stories in Othello , " Shakespeare Survey 49 ( Cambridge : Cambridge University Press , 1996 ) , 201-216 ; " Why Should We Call Her Whore ? Bianca in ...
... earlier versions as " Have you not read of some such thing ? ' : Sex and Sexual Stories in Othello , " Shakespeare Survey 49 ( Cambridge : Cambridge University Press , 1996 ) , 201-216 ; " Why Should We Call Her Whore ? Bianca in ...
Strana 2
... earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to design a new capstone English course for grade 12 , selects Othello as the one obligatory ...
... earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to design a new capstone English course for grade 12 , selects Othello as the one obligatory ...
Strana 4
... earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated from scientific observation to erotic arousal unless he too was aroused ? How could we in the audience be convinced of ...
... earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated from scientific observation to erotic arousal unless he too was aroused ? How could we in the audience be convinced of ...
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