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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... performance history , or cul- tural studies . - - In the following pages , I travel around among these different disci- plinary sites , but textual analysis is my home . Reflecting on the changing theatrical and cultural situations ...
... performance history , or cul- tural studies . - - In the following pages , I travel around among these different disci- plinary sites , but textual analysis is my home . Reflecting on the changing theatrical and cultural situations ...
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... performance history of Othello , some of which I shall discuss in chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's ...
... performance history of Othello , some of which I shall discuss in chapter 1 , of audiences so moved by the play that they found it necessary to assert their presence and even intervene in the dramatic action . Underlying my colleague's ...
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... performance history . The per- formance history of Othello is extraordinarily rich . The play was evi- dently successful when new , to judge from the recorded performances and allusions . It was " probably the second revival " in the ...
... performance history . The per- formance history of Othello is extraordinarily rich . The play was evi- dently successful when new , to judge from the recorded performances and allusions . It was " probably the second revival " in the ...
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... performance to the next of what we uncritically call " the same production . " Performance history , then , might ( and often does ) dissolve into a miscellany of greatly memorable realizations , momentous but also momentary as a sound ...
... performance to the next of what we uncritically call " the same production . " Performance history , then , might ( and often does ) dissolve into a miscellany of greatly memorable realizations , momentous but also momentary as a sound ...
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... performances or the discontinuous constructions appropri- ate to particular cultural situations — instead of these , we might rather emphasize the consistency of the response record . The sense of painful double bind I described earlier ...
... performances or the discontinuous constructions appropri- ate to particular cultural situations — instead of these , we might rather emphasize the consistency of the response record . The sense of painful double bind I described earlier ...
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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Häufige Begriffe und Wortgruppen
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