Othello and Interpretive TraditionsUniversity of Iowa Press, 01.08.1999 - 272 Seiten 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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... audiences want to talk about . Yet at the same time , as refracted through lago , it forces us to hear what we do not want to hear - like the characters in the play , we become trapped in our own prejudi- cial malice and guilt . In this ...
... audiences want to talk about . Yet at the same time , as refracted through lago , it forces us to hear what we do not want to hear - like the characters in the play , we become trapped in our own prejudi- cial malice and guilt . In this ...
Seite ix
... audiences and readers , both at present ( it has become , arguably , the Shakespearean tragedy of our time ) and earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi- nal production ...
... audiences and readers , both at present ( it has become , arguably , the Shakespearean tragedy of our time ) and earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi- nal production ...
Seite 2
... audience , Mitchell Greenberg sees much the same thing : Othello has a peculiar power " to haunt us as an uncanny projection , from the past , of our conflicted present " ( 1 ) . Conflict , though , is not unique to Othello ; we need to ...
... audience , Mitchell Greenberg sees much the same thing : Othello has a peculiar power " to haunt us as an uncanny projection , from the past , of our conflicted present " ( 1 ) . Conflict , though , is not unique to Othello ; we need to ...
Seite 4
... audiences at academic lectures to be attentively silent . In this respect , he was performing the transgressive action re ... audience be convinced of his claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex ...
... audiences at academic lectures to be attentively silent . In this respect , he was performing the transgressive action re ... audience be convinced of his claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex ...
Seite 8
... audiences equally to the attractive pow- ers of Othello and Iago , and thus describing a play recognizably like the one we know in our time . As we'll see in chapter 1 , the reception his- tory of the play , whatever its local detail ...
... audiences equally to the attractive pow- ers of Othello and Iago , and thus describing a play recognizably like the one we know in our time . As we'll see in chapter 1 , the reception his- tory of the play , whatever its local detail ...
Inhalt
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