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 ix
... scene . It is not to be endured . " Putting it this way suggests that Othello stands in a generating posi- tion prior to its critical and theatrical interpretation : the interpretation is produced by and responds to the play . This ...
... scene . It is not to be endured . " Putting it this way suggests that Othello stands in a generating posi- tion prior to its critical and theatrical interpretation : the interpretation is produced by and responds to the play . This ...
Seite 1
... scene , when it began . " Has anyone yet noted the similarities between Othello and O. J. Simpson : black male and white woman , history of spousal abuse , mur- der of wife and friend , claims to have loved his wife ' too much , ' etc ...
... scene , when it began . " Has anyone yet noted the similarities between Othello and O. J. Simpson : black male and white woman , history of spousal abuse , mur- der of wife and friend , claims to have loved his wife ' too much , ' etc ...
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... scene design , and sometimes by technical regressions or restorations ( Poel , the new Globe ) as well , all of these phenomena realized in a kin- esthetic experience that alters not only over the long sweep of time but from one ...
... scene design , and sometimes by technical regressions or restorations ( Poel , the new Globe ) as well , all of these phenomena realized in a kin- esthetic experience that alters not only over the long sweep of time but from one ...
Seite 8
... Scene ( 3.3 ) , acknowledging the unique structure and emotional economy that draws 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 ...
... Scene ( 3.3 ) , acknowledging the unique structure and emotional economy that draws 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 ...
Seite 9
... scene , as " his- torically inaccurate , and blind . . . to the true nature of phenomena we are dealing with " ( Orgel , " The Authentic Shakespeare , " 10 ) . Whenever truth and historical accuracy are invoked , there is always an ...
... scene , as " his- torically inaccurate , and blind . . . to the true nature of phenomena we are dealing with " ( Orgel , " The Authentic Shakespeare , " 10 ) . Whenever truth and historical accuracy are invoked , there is always an ...
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