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 83.
Strana
... theatrical productions ; the 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 ...
... theatrical productions ; the 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 ...
Strana vii
... Theatrical and Critical History 11 Chapter 2. Disconfirmation 30 Chapter 3. Iago 53 Chapter 4. The Fall of Othello 79 Chapter 5. The " Pity " Act 113 Chapter 6. Death without Transfiguration 141 Afterword . Interpretation as ...
... Theatrical and Critical History 11 Chapter 2. Disconfirmation 30 Chapter 3. Iago 53 Chapter 4. The Fall of Othello 79 Chapter 5. The " Pity " Act 113 Chapter 6. Death without Transfiguration 141 Afterword . Interpretation as ...
Strana ix
... theatrical interpretation : the interpretation is produced by and responds to the play . This commonsense view has , like so many others , been subjected to a withering skeptical analysis in our time . Its apparently objectivist ...
... theatrical interpretation : the interpretation is produced by and responds to the play . This commonsense view has , like so many others , been subjected to a withering skeptical analysis in our time . Its apparently objectivist ...
Strana x
... theatrical and cultural situations within which the play is produced , I am nonetheless inclined to keep my eye ( or perhaps interpretive imagina- tion ) on an original Othello , whose energies continue even now to de- termine — that is ...
... theatrical and cultural situations within which the play is produced , I am nonetheless inclined to keep my eye ( or perhaps interpretive imagina- tion ) on an original Othello , whose energies continue even now to de- termine — that is ...
Strana 4
... theatrical audiences , and students ( constituencies we may ignore at some risk ) , but many academic critics have tended to back away from it . By isolating the protagonist from the dramatic action — and seeking to understand his ...
... theatrical audiences , and students ( constituencies we may ignore at some risk ) , but many academic critics have tended to back away from it . By isolating the protagonist from the dramatic action — and seeking to understand his ...
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