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 ix
... suggests that Othello stands in a generating posi- tion prior to its critical and theatrical interpretation : the interpretation is produced by and responds to the play . This commonsense view has , like so many others , been subjected ...
... suggests that Othello stands in a generating posi- tion prior to its critical and theatrical interpretation : the interpretation is produced by and responds to the play . This commonsense view has , like so many others , been subjected ...
Strana 2
... suggest the play's unusual power to generate interest in our time . Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had ...
... suggest the play's unusual power to generate interest in our time . Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had ...
Strana 3
... suggests as much . Most of it was motivated by the belief that the presumed fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified ...
... suggests as much . Most of it was motivated by the belief that the presumed fit between the play and the murders was rather a misfit ; either it placed the tawdry facts behind the bloodbath at Rockingham in an artificially dignified ...
Strana 12
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Strana 14
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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