Othello and Interpretive TraditionsUniversity of Iowa Press, 1 авг. 1999 г. - Всего страниц: 272 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. |
Результаты поиска по книге
Результаты 1 – 5 из 28
Стр.
... Going back to the play's original production , he argues Othello is unique in that it divides the central space of its action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ...
... Going back to the play's original production , he argues Othello is unique in that it divides the central space of its action equally between protagonist and antagonist . This design has made strenuous demands on theatrical productions ...
Стр. ix
... going back nearly to the play's origi- nal production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action- and fractures its at- tractive power equally between the protagonist ...
... going back nearly to the play's origi- nal production . As I see Othello , its effects develop out of the peculiar way it shares out the central space of its action- and fractures its at- tractive power equally between the protagonist ...
Стр. 3
... going back to its origins in Ry- mer . Eventually , in this case anyway , the message got through . The dis- cussion petered out in about three weeks . It may be that we simply lost interest . These striking coincidences tend to be ...
... going back to its origins in Ry- mer . Eventually , in this case anyway , the message got through . The dis- cussion petered out in about three weeks . It may be that we simply lost interest . These striking coincidences tend to be ...
Стр. 13
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Стр. 21
Извините, доступ к содержанию этой страницы ограничен..
Извините, доступ к содержанию этой страницы ограничен..
Содержание
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 | |
Другие издания - Просмотреть все
Часто встречающиеся слова и выражения
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