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 58.
Strana ix
... perhaps impossible demands on theat- rical production ; the stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's equiva- lent attractive power . The critical tradition , too ...
... perhaps impossible demands on theat- rical production ; the stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's equiva- lent attractive power . The critical tradition , too ...
Strana x
... perhaps even heard of . For this reason , it is equally plausible to re- verse the order of priority I suggested earlier , claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is ...
... perhaps even heard of . For this reason , it is equally plausible to re- verse the order of priority I suggested earlier , claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is ...
Strana 4
... Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding interest in us , which would then count as evidence to justify the claim in the first place ? Of course , we might always disagree with the ...
... Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding interest in us , which would then count as evidence to justify the claim in the first place ? Of course , we might always disagree with the ...
Strana 6
... perhaps trapping us even more securely.3 A further consequence is to highlight the contradictory purposes I mentioned earlier between the play's special appeal to current audiences and our relation to inherited interpretive traditions ...
... perhaps trapping us even more securely.3 A further consequence is to highlight the contradictory purposes I mentioned earlier between the play's special appeal to current audiences and our relation to inherited interpretive traditions ...
Strana 8
... perhaps just different from our own ) . But Bradley is talking about the Temptation Scene ( 3.3 ) , acknowledging the unique structure and emotional economy that draws audiences equally to the attractive pow- ers of Othello and Iago ...
... perhaps just different from our own ) . But Bradley is talking about the Temptation Scene ( 3.3 ) , acknowledging the unique structure and emotional economy that draws audiences equally to the attractive pow- ers of Othello and Iago ...
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