Othello: New PerspectivesVirginia Mason Vaughan, Kent Cartwright |
From inside the book
Results 1-3 of 26
Page 49
... reference and seek elucidation , they often appear to underscore nothing so much as the power of language to obscure or suppress reference , and help to enunciate what Gayle Greene has called the play's " refusal to elucidate . " 3 At ...
... reference and seek elucidation , they often appear to underscore nothing so much as the power of language to obscure or suppress reference , and help to enunciate what Gayle Greene has called the play's " refusal to elucidate . " 3 At ...
Page 50
... reference , " a " self - reference that ultimately brings out the inability of any discourse to account for itself . " 5 Culler's remark comes to mind here because to a considerable degree the activity , and preoc- cupations , to which ...
... reference , " a " self - reference that ultimately brings out the inability of any discourse to account for itself . " 5 Culler's remark comes to mind here because to a considerable degree the activity , and preoc- cupations , to which ...
Page 61
... reference even as it obliterates the contexts from which it had proceeded . Nor is it only in the interaction of Iago and Othello that this power is trumpeted . One hears it as well in the recurrent transfor- mation of persons and ...
... reference even as it obliterates the contexts from which it had proceeded . Nor is it only in the interaction of Iago and Othello that this power is trumpeted . One hears it as well in the recurrent transfor- mation of persons and ...
Contents
List of Contributors | 9 |
The Second Quarto of Othello and the Question | 26 |
What needs | 48 |
Copyright | |
11 other sections not shown
Other editions - View all
Common terms and phrases
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