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. |
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Strana 2
... seems directly to appeal . Othello focuses on marriage as a domestic relationship , where the most intimately private experience is nonetheless shaped by the pressures of society and political power . The play is preoccupied with ...
... seems directly to appeal . Othello focuses on marriage as a domestic relationship , where the most intimately private experience is nonetheless shaped by the pressures of society and political power . The play is preoccupied with ...
Strana 4
... seems vir- tually to force itself upon us , for it focuses directly and centrally on the questions I have been raising here about the nature of belief , the fraught and problematic process by which convictions are settled in the mind ...
... seems vir- tually to force itself upon us , for it focuses directly and centrally on the questions I have been raising here about the nature of belief , the fraught and problematic process by which convictions are settled in the mind ...
Strana 5
... seems to be driven by the hero- worshiping and psychological assumptions of nineteenth - century com- mentary assumptions whose relevance to our own and to Renais- sance concerns we have some reason to doubt . But a version of it still ...
... seems to be driven by the hero- worshiping and psychological assumptions of nineteenth - century com- mentary assumptions whose relevance to our own and to Renais- sance concerns we have some reason to doubt . But a version of it still ...
Strana 9
... seems almost nobody thought so ) , but I'm less interested in Othello as a document in the history of racial ... seem oblivious to much of the strongest work in current critical analysis . Indeed , to invest in the artistic design of a ...
... seems almost nobody thought so ) , but I'm less interested in Othello as a document in the history of racial ... seem oblivious to much of the strongest work in current critical analysis . Indeed , to invest in the artistic design of a ...
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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