Othello: Critical EssaysPhilip Kolin Routledge, 11. 1. 2013 - 472 strán (strany) Including twenty-one groundbreaking chapters that examine one of Shakespeare's most complex tragedies. Othello: Critical Essays explores issues of friendship and fealty, love and betrayal, race and gender issues, and much more. |
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Strana 32
... Aldridge's Othello in England in 1846 further exemplifies the colonial prejudices that descended to Robeson. Although the reviewer for the Manchester Examiner (4 July 1846) praised Aldridge's acting, he could not forgive the color of ...
... Aldridge's Othello in England in 1846 further exemplifies the colonial prejudices that descended to Robeson. Although the reviewer for the Manchester Examiner (4 July 1846) praised Aldridge's acting, he could not forgive the color of ...
Strana 33
... Aldridge,” 245—46) Culture decided make-up. According to Vaughan, when Othello was staged in the postbellum South, he was “whitened” because of the fear of miscegenation (Othello: Contextual, 160). As Empire and anti-miscegenation ...
... Aldridge,” 245—46) Culture decided make-up. According to Vaughan, when Othello was staged in the postbellum South, he was “whitened” because of the fear of miscegenation (Othello: Contextual, 160). As Empire and anti-miscegenation ...
Strana 38
... Aldridge who performed Othello often and successfully in his European tours in Britain, Ireland, Berlin, Stockholm, St. Petersburg, and Constantinople, extending from the 1820s through the 1860s. Aldridge was the first black actor to ...
... Aldridge who performed Othello often and successfully in his European tours in Britain, Ireland, Berlin, Stockholm, St. Petersburg, and Constantinople, extending from the 1820s through the 1860s. Aldridge was the first black actor to ...
Strana 39
... Aldridge. Herbert Farjeon saw Robeson as “being a member of a subjected race, still dragging in the chains of his ancestors [he] was not noble enough . . . The fact that he is a negro did not assist him . . . Shakespeare wrote the part ...
... Aldridge. Herbert Farjeon saw Robeson as “being a member of a subjected race, still dragging in the chains of his ancestors [he] was not noble enough . . . The fact that he is a negro did not assist him . . . Shakespeare wrote the part ...
Strana 77
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Obsah
1 | |
The Audiences Role in Othello | 89 |
The Production of Race in Othello | 103 |
Images of White Identity in Othello | 133 |
Roderigo and the Mixed Dramaturgy of Race and Gender in Othello | 147 |
Othellos Judaic Ancestry | 169 |
The State and the Subject of Othello | 189 |
Venetian Ideology or Transversal Power? Iagos Motives and the Means by which Othello Falls | 203 |
Early Modern Jury Trials and the Equitable Judgments of Tragedy | 293 |
Othello Among the Sonnets | 325 |
Tropes of Damnation and Nothingness | 347 |
A Semiotics of Eyeconography in Othello | 363 |
Physiologies and Anatomies in Othello | 379 |
Reading Othello Backwards | 391 |
The Mystery of the Early Othello Texts | 401 |
Stage Violence in Othello | 425 |
Portrait of a Marriage | 221 |
Desdemona Emilia and the Doctrine of Obedience in Othello | 233 |
Morality Ethics and the Failure of Love in Shakespeares Othello | 255 |
Water Imagery and Religious Diversity in Othello | 271 |
An Interview with Kent Thompson Artistic Director of the Alabama Shakespeare Festival | 441 |
Notes on the Contributors | 456 |
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