Othello and Interpretive TraditionsUniversity of Iowa Press, 1999. aug. 1. - 272 oldal 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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ix. oldal
... 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 to a withering skeptical analysis in our time . Its ...
... 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 to a withering skeptical analysis in our time . Its ...
x. oldal
... tion ) on an original Othello , whose energies continue even now to de- termine — that is , to reproduce — the cultural and theatrical forms within which we know the play . For reasons suggested just earlier , such a text - centered ...
... tion ) on an original Othello , whose energies continue even now to de- termine — that is , to reproduce — the cultural and theatrical forms within which we know the play . For reasons suggested just earlier , such a text - centered ...
2. oldal
... tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to ...
... tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that speaks most directly and powerfully to current interests . Robert Scholes , for instance , helping to ...
5. oldal
... tion , is effectively impossible for Othello and Cassio and Brabantio , who are doomed rather to reproduce Iago's fearful anxieties . Audiences are better off ; the play identifies Iago for us in no uncertain terms as " a villain ...
... tion , is effectively impossible for Othello and Cassio and Brabantio , who are doomed rather to reproduce Iago's fearful anxieties . Audiences are better off ; the play identifies Iago for us in no uncertain terms as " a villain ...
13. oldal
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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