Othello: New PerspectivesVirginia Mason Vaughan, Kent Cartwright |
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Page 124
... draws upon to create this " chrysolitic " " jewel " crystallize in her dramatic entry . Othello's arrival similarly draws upon literary and iconographic backgrounds . " Lo , where he comes , " says Cassio ( 181 ) . “ O my fair warrior ...
... draws upon to create this " chrysolitic " " jewel " crystallize in her dramatic entry . Othello's arrival similarly draws upon literary and iconographic backgrounds . " Lo , where he comes , " says Cassio ( 181 ) . “ O my fair warrior ...
Page 248
... draw here from Christine Gledhill , " The Melodramatic Field : An In- vestigation , " in Home Is Where the Heart Is ... draws a useful distinction between spectator and au- dience by labeling the spectator a " meaning - maker , " one ...
... draw here from Christine Gledhill , " The Melodramatic Field : An In- vestigation , " in Home Is Where the Heart Is ... draws a useful distinction between spectator and au- dience by labeling the spectator a " meaning - maker , " one ...
Page 254
... draws on the classic film noir story of a man trapped by a woman and destroyed by his own desire , Cukor borrows the ... draw on her analy- sis of the relations between voice and body in cinema , but without reproducing her full ...
... draws on the classic film noir story of a man trapped by a woman and destroyed by his own desire , Cukor borrows the ... draw on her analy- sis of the relations between voice and body in cinema , but without reproducing her full ...
Contents
List of Contributors | 9 |
The Second Quarto of Othello and the Question | 26 |
What needs | 48 |
Copyright | |
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action appears asks associated attempt audience authority becomes body called Cambridge Cassio character close comes course create critics Desdemona direct discussion earlier edition editors effect Elizabethan Emilia emotional essay evidence example eyes fall feel female figure final gaze give hand honest Iago Iago's innocent kind lago language later light London look male meaning mind Moor murder nature never night once opening Othello passion perception performance person play play's playgoer position possible present properties quarto question readers reading reference repetition represents response reveals rhetorical Roderigo scene seems sense Shakespeare shot shows soliloquy speak spectators speech stage suggest tells Theatre theory things thou thought tion tragedy Tree turn understand University Press voice wife woman women York