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
... sexuality , and nationality ) , the play talks about what audiences want to talk about . Yet at the same time , as refracted through lago , it forces us to hear what we do not want to hear - like the characters in the play , we become ...
... sexuality , and nationality ) , the play talks about what audiences want to talk about . Yet at the same time , as refracted through lago , it forces us to hear what we do not want to hear - like the characters in the play , we become ...
Strana xi
... sexual interest in Othello by saying , " What do you mean — my father would have slapped me across the face . " I owe a lot also to colleagues who gave me useful tips about what to read and even sometimes what and how to write : Peter ...
... sexual interest in Othello by saying , " What do you mean — my father would have slapped me across the face . " I owe a lot also to colleagues who gave me useful tips about what to read and even sometimes what and how to write : Peter ...
Strana 2
... sexual and racial difference , " Even now , now , very now , an old black ram / Is tupping your white ewe ! " ( 1.1.87– 88 ) ; and it ends with the tableau of Othello and Desdemona locked in a perverse embrace on the marriage bed ...
... sexual and racial difference , " Even now , now , very now , an old black ram / Is tupping your white ewe ! " ( 1.1.87– 88 ) ; and it ends with the tableau of Othello and Desdemona locked in a perverse embrace on the marriage bed ...
Strana 3
... sexual practices . " Listen to that , " he said , " he's getting turned on . " Later he showed us some slides of the ... sexuality are central questions for anyone studying Othello , but I tell this story for different reasons . My ...
... sexual practices . " Listen to that , " he said , " he's getting turned on . " Later he showed us some slides of the ... sexuality are central questions for anyone studying Othello , but I tell this story for different reasons . My ...
Strana 4
... sexual practices does not evoke my sexual interest . " But denial , especially in connection with a subject like sexual interest ( or racial prejudice : " Some of my best friends are people of color " ) is almost invariably the reverse ...
... sexual practices does not evoke my sexual interest . " But denial , especially in connection with a subject like sexual interest ( or racial prejudice : " Some of my best friends are people of color " ) is almost invariably the reverse ...
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