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
... experience truly " not to be endured . " This book is inextricably involved with Concordia University , where I feel lucky to have worked for thirty years . I owe a lot to many students who listened to my ideas about Othello as they ...
... experience truly " not to be endured . " This book is inextricably involved with Concordia University , where I feel lucky to have worked for thirty years . I owe a lot to many students who listened to my ideas about Othello as they ...
Strana 2
... experience is nonetheless shaped by the pressures of society and political power . The play is preoccupied with questions of gender difference , the expectations of men and women for themselves and about each other , including those ...
... experience is nonetheless shaped by the pressures of society and political power . The play is preoccupied with questions of gender difference , the expectations of men and women for themselves and about each other , including those ...
Strana 7
... experience that alters not only over the long sweep of time but from one performance to the next of what we uncritically call " the same production . " Performance history , then , might ( and often does ) dissolve into a miscellany of ...
... experience that alters not only over the long sweep of time but from one performance to the next of what we uncritically call " the same production . " Performance history , then , might ( and often does ) dissolve into a miscellany of ...
Strana 8
... experience . From this perspective , our Othello and the various Othellos of the past , recent and remote , are not at cross- purposes after all . Each of them shares with all the others the excruciat- ing anxiety of being at cross ...
... experience . From this perspective , our Othello and the various Othellos of the past , recent and remote , are not at cross- purposes after all . Each of them shares with all the others the excruciat- ing anxiety of being at cross ...
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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