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 3
... nineteenth - century European views of Africans . He read from a Victorian ethnographic description of tribal sexual practices . " Listen to that , " he said , " he's getting turned on . " Later he showed us some slides of the ...
... nineteenth - century European views of Africans . He read from a Victorian ethnographic description of tribal sexual practices . " Listen to that , " he said , " he's getting turned on . " Later he showed us some slides of the ...
Strana 4
... nineteenth - century interpretive practice , the matter led to the question " Is Othello easily jealous ? " This question is still generally current for actors , theatrical audiences , and students ( constituencies we may ignore at some ...
... nineteenth - century interpretive practice , the matter led to the question " Is Othello easily jealous ? " This question is still generally current for actors , theatrical audiences , and students ( constituencies we may ignore at some ...
Strana 5
... nineteenth - century com- mentary assumptions whose relevance to our own and to Renais- sance concerns we have some reason to doubt . But a version of it still drives our efforts to make sense of the play , though now fixed to the ...
... nineteenth - century com- mentary assumptions whose relevance to our own and to Renais- sance concerns we have some reason to doubt . But a version of it still drives our efforts to make sense of the play , though now fixed to the ...
Strana 7
... nineteenth century when , as MacDonald shows , " playing race Othello and Interpretive Traditions { 7 }
... nineteenth century when , as MacDonald shows , " playing race Othello and Interpretive Traditions { 7 }
Strana 12
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Omlouváme se, ale obsah této stránky je nepřístupný..
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