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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... speech functions like free indirect discourse : a tissue of cliches and proverbs belonging to nobody in par- ticular and everybody in general , it becomes absorbed into an amor- phous " honesty " — " a whispering , " as Kenneth Burke ...
... speech functions like free indirect discourse : a tissue of cliches and proverbs belonging to nobody in par- ticular and everybody in general , it becomes absorbed into an amor- phous " honesty " — " a whispering , " as Kenneth Burke ...
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... speech , " What you know , you know " ( 5.2.300 ) . One consequence of this argument is to blur if not totally erase the distinction between Othello and its interpretive traditions . If critical re- flection on the play winds up ...
... speech , " What you know , you know " ( 5.2.300 ) . One consequence of this argument is to blur if not totally erase the distinction between Othello and its interpretive traditions . If critical re- flection on the play winds up ...
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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