Othello and Interpretive TraditionsUniversity of Iowa Press, 1. 8. 1999 - 272 strán (strany) 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. |
Vyhľadávanie v obsahu knihy
Výsledky 1 - 5 z 38.
Strana vii
... Chapter 2. Disconfirmation 30 Chapter 3. Iago 53 Chapter 4. The Fall of Othello 79 Chapter 5. The " Pity " Act 113 Chapter 6. Death without Transfiguration 141 Afterword . Interpretation as Contamination 169 Appendix . " Character ...
... Chapter 2. Disconfirmation 30 Chapter 3. Iago 53 Chapter 4. The Fall of Othello 79 Chapter 5. The " Pity " Act 113 Chapter 6. Death without Transfiguration 141 Afterword . Interpretation as Contamination 169 Appendix . " Character ...
Strana x
... chapters follow the action of the play in a way that tries to account for its tremendous power over the centuries to engage theatrical and literary interest . In one important respect , though , the theoretical collapse of dif- ferences ...
... chapters follow the action of the play in a way that tries to account for its tremendous power over the centuries to engage theatrical and literary interest . In one important respect , though , the theoretical collapse of dif- ferences ...
Strana xi
... chapter 4 and the appendix , chapter 5 , and the afterword appeared 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 ...
... chapter 4 and the appendix , chapter 5 , and the afterword appeared 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 ...
Strana 4
... chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's outburst , I believe , was an intuition that anyone inside that ...
... chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's outburst , I believe , was an intuition that anyone inside that ...
Strana 8
... chapter 1 , the reception his- tory of the play , whatever its local detail and particular inflections , is remarkably consistent , registering the impossible demands of respond- ing at once to Othello's and Iago's voices and ...
... chapter 1 , the reception his- tory of the play , whatever its local detail and particular inflections , is remarkably consistent , registering the impossible demands of respond- ing at once to Othello's and Iago's voices and ...
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