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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Výsledky 1 - 5 z 79.
Strana
... stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's equivalent attractive power . While Othello and its interpretive traditions are distinguishable from one another as a matter ...
... stage history of the play may be plotted as a continuous refusal or inability to allow for Othello's and Iago's equivalent attractive power . While Othello and its interpretive traditions are distinguishable from one another as a matter ...
Strana iv
... Stage history . 4. Muslims in literature . 5. Blacks in literature . 6. Tragedy . I. Title . II . Series . PR2829.P43 1999 822.3'3 - dc21 99-20943 99 oo 01 02 03 C 5 4 3 2 1 FOR STANLEY FISH CONTENTS Preface ix Introduction . Othello and.
... Stage history . 4. Muslims in literature . 5. Blacks in literature . 6. Tragedy . I. Title . II . Series . PR2829.P43 1999 822.3'3 - dc21 99-20943 99 oo 01 02 03 C 5 4 3 2 1 FOR STANLEY FISH CONTENTS Preface ix Introduction . Othello and.
Strana ix
... 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 , has piled up a consistent record of appalled frustration ...
... 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 , has piled up a consistent record of appalled frustration ...
Strana x
... stage and critical reception , five 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 ...
... stage and critical reception , five 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 ...
Strana 6
... stage in later times " ( Sprague , Shakespeare and the Actors , 185 ) . But although the play has held the stage , exciting great theatrical interest , without a significant hiatus from its own time to ours { 6 } Othello and ...
... stage in later times " ( Sprague , Shakespeare and the Actors , 185 ) . But although the play has held the stage , exciting great theatrical interest , without a significant hiatus from its own time to ours { 6 } Othello 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