Othello and Interpretive TraditionsDuring 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. |
From inside the book
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... interests of audiences and readers not just in our time but throughout history . Going back to the play's original production , he argues Othello is unique in that it divides the central space of its action equally between protagonist ...
... interests of audiences and readers not just in our time but throughout history . Going back to the play's original production , he argues Othello is unique in that it divides the central space of its action equally between protagonist ...
Page ix
... interests of audiences and readers , both at present ( it has become , arguably , the Shakespearean tragedy of our time ) and earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi ...
... interests of audiences and readers , both at present ( it has become , arguably , the Shakespearean tragedy of our time ) and earlier , as recorded in the rich traditions of interpretive response going back nearly to the play's origi ...
Page x
... interest . In one important respect , though , the theoretical collapse of dif- ferences continues to provide a fundamentally strong motivation driv- ing this book , trained precisely on the distinction between traditions and our time ...
... interest . In one important respect , though , the theoretical collapse of dif- ferences continues to provide a fundamentally strong motivation driv- ing this book , trained precisely on the distinction between traditions and our time ...
Page xi
... interest in Othello by saying , " What do you mean — my father would have slapped me across the face . " I owe a lot also to colleagues who gave me useful tips about what to read and even sometimes what and how to write : Peter Feder ...
... interest in Othello by saying , " What do you mean — my father would have slapped me across the face . " I owe a lot also to colleagues who gave me useful tips about what to read and even sometimes what and how to write : Peter Feder ...
Page 2
... interest in our time . Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that ...
... interest in our time . Othello has become the Shakespearean tragedy of choice for the present genera- tion . During the last twenty years or so , it has replaced King Lear in the way Lear had earlier replaced Hamlet as the tragedy that ...
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Common terms and phrases
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