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 33.
Strana x
... literary interest . In one important respect , though , the theoretical collapse of dif- ferences continues to provide a fundamentally strong motivation driv- ing this book , trained precisely on the distinction between traditions and ...
... literary interest . In one important respect , though , the theoretical collapse of dif- ferences continues to provide a fundamentally strong motivation driv- ing this book , trained precisely on the distinction between traditions and ...
Strana 9
... literary and theatrical energies which have driven so many readers and audiences over such a long pe- riod of time to acknowledge ( or indeed refuse ) racial ( and related sorts of ) anxieties . And again : this book is more practical ...
... literary and theatrical energies which have driven so many readers and audiences over such a long pe- riod of time to acknowledge ( or indeed refuse ) racial ( and related sorts of ) anxieties . And again : this book is more practical ...
Strana 10
... literary and theatrical interest as recorded in its long and rich critical and theatrical histories , not a theoretical prolegomenon to such a description . What it does , it does . - Othello in Theatrical and Critical History The ...
... literary and theatrical interest as recorded in its long and rich critical and theatrical histories , not a theoretical prolegomenon to such a description . What it does , it does . - Othello in Theatrical and Critical History The ...
Strana 18
Prepáčte, obsah tejto strany je neprístupný.
Prepáčte, obsah tejto strany je neprístupný.
Strana 19
Prepáčte, obsah tejto strany je neprístupný.
Prepáčte, obsah tejto strany je neprístupný.
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 | |
Iné vydania - Zobraziť všetky
Časté výrazy a frázy
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