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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Seite x
... claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is we ... claim power for themselves to interrogate and displace an impoverished his- tory . But if the lines separating our ...
... claiming now that it is the interpretive tradition that stands in an anterior position , producing whatever it is we ... claim power for themselves to interrogate and displace an impoverished his- tory . But if the lines separating our ...
Seite xi
... claims driving so much contemporary interpretive practice are illusory — an experience truly " not to be endured . " This book is inextricably involved with Concordia University , where I feel lucky to have worked for thirty years . I ...
... claims driving so much contemporary interpretive practice are illusory — an experience truly " not to be endured . " This book is inextricably involved with Concordia University , where I feel lucky to have worked for thirty years . I ...
Seite 1
... claims to have loved his wife ' too much , ' etc. ? " The author of these words , a Shakespearean who teaches at a university in the western United States , was addressing himself to an electronic discussion group called SHAKSPER , many ...
... claims to have loved his wife ' too much , ' etc. ? " The author of these words , a Shakespearean who teaches at a university in the western United States , was addressing himself to an electronic discussion group called SHAKSPER , many ...
Seite 4
... claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex- perienced a similarly increased sense of sexual interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding ...
... claim unless ( however diverse in age , gender , sexual orientation , etc. ) we ex- perienced a similarly increased sense of sexual interest ? Perhaps most troubling of all , what if the lecturer's claim was producing a corre- sponding ...
Seite 6
... claims , but not the absolutely foundational one of standing in some critical relation to the past . It is , however , precisely this claim that the play , as I see it , works to undermine , and the result is a peculiarly painful double ...
... claims , but not the absolutely foundational one of standing in some critical relation to the past . It is , however , precisely this claim that the play , as I see it , works to undermine , and the result is a peculiarly painful double ...
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