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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... sense had emerged earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated from scientific observation to erotic arousal unless he too was aroused ? How could we in the ...
... sense had emerged earlier in the lecture . How could the lecturer detect that the ethnographer's relation to his material had migrated from scientific observation to erotic arousal unless he too was aroused ? How could we in the ...
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... sense of the play , though now fixed to the antagonist rather than the protagonist , and to systems rather than to individual instances of belief . How can we explain Iago's spectacular success in shaping not just Othello's ...
... sense of the play , though now fixed to the antagonist rather than the protagonist , and to systems rather than to individual instances of belief . How can we explain Iago's spectacular success in shaping not just Othello's ...
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... sense of its complexity , thereby perhaps trapping us even more securely.3 A further consequence is to highlight the contradictory purposes I mentioned earlier between the play's special appeal to current audiences and our relation to ...
... sense of its complexity , thereby perhaps trapping us even more securely.3 A further consequence is to highlight the contradictory purposes I mentioned earlier between the play's special appeal to current audiences and our relation to ...
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Edward Pechter. without a significant hiatus from its own time to ours , any sense we might have of continuity in Othello's performance history needs to be skeptically examined . The play's stage history is constituted out of many ...
Edward Pechter. without a significant hiatus from its own time to ours , any sense we might have of continuity in Othello's performance history needs to be skeptically examined . The play's stage history is constituted out of many ...
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... sense of painful double bind I described earlier in contemporary response to Othello is not unique to our time . Trying to account for " the peculiarity of Othello " as " the most painfully exciting and the most terrible " of Shake ...
... sense of painful double bind I described earlier in contemporary response to Othello is not unique to our time . Trying to account for " the peculiarity of Othello " as " the most painfully exciting and the most terrible " of Shake ...
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