Othello and Interpretive TraditionsUniversity of Iowa Press, 1. aug. 1999 - 272 sider 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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Side x
... nonetheless inclined to keep my eye ( or perhaps interpretive imagina- tion ) on an original Othello , whose energies continue even now to de- termine — that is , to reproduce — the cultural and theatrical forms within which we know the ...
... nonetheless inclined to keep my eye ( or perhaps interpretive imagina- tion ) on an original Othello , whose energies continue even now to de- termine — that is , to reproduce — the cultural and theatrical forms within which we know the ...
Side 2
... nonetheless shaped by the pressures of society and political power . The play is preoccupied with questions of gender difference , the expectations of men and women for themselves and about each other , including those that underwrite ...
... nonetheless shaped by the pressures of society and political power . The play is preoccupied with questions of gender difference , the expectations of men and women for themselves and about each other , including those that underwrite ...
Side 9
... Nonetheless , there are distinct priorities at work here . This book is more practical criticism than cul- tural studies . Othello and racial questions are inseparable , I think ( though not everyone thinks so , and until around 1800 it ...
... Nonetheless , there are distinct priorities at work here . This book is more practical criticism than cul- tural studies . Othello and racial questions are inseparable , I think ( though not everyone thinks so , and until around 1800 it ...
Side 17
Denne sides indhold er desværre begrænset..
Denne sides indhold er desværre begrænset..
Side 24
Denne sides indhold er desværre begrænset..
Denne sides indhold er desværre begrænset..
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Almindelige termer og sætninger
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