Othello: Critical EssaysPhilip Kolin Including twenty-one groundbreaking chapters that examine one of Shakespeare's most complex tragedies. Othello: Critical Essays explores issues of friendship and fealty, love and betrayal, race and gender issues, and much more. |
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Page 1
... Audience reactions crystallize the major anxieties Othello has raised in its 400 year history. At the emotional ... audience/reader response as has Othello. As criticism of the play reveals, audiences have been ejected from the safety of ...
... Audience reactions crystallize the major anxieties Othello has raised in its 400 year history. At the emotional ... audience/reader response as has Othello. As criticism of the play reveals, audiences have been ejected from the safety of ...
Page 2
... audience's demand to have their worst anxieties calmed, and quieted through excision. What editors and actors have tried to quarantine has erupted into pain and anger for audiences over the centuries. Marvin Rosenberg documents several ...
... audience's demand to have their worst anxieties calmed, and quieted through excision. What editors and actors have tried to quarantine has erupted into pain and anger for audiences over the centuries. Marvin Rosenberg documents several ...
Page 3
... audience grew. “Swoons followed upon swoons,” reports an eyewitness. “The doors of the boxes opened and closed. People left, or when necessary, were carried out; and, according to trustworthy reports, the miscarriages suffered by ...
... audience grew. “Swoons followed upon swoons,” reports an eyewitness. “The doors of the boxes opened and closed. People left, or when necessary, were carried out; and, according to trustworthy reports, the miscarriages suffered by ...
Page 4
... audience shouted: “It wasn't his fault: his kind of love could burn up a city.” This last incident raises one of the most crucial questions for readers/audiences about the play. Is Othello a criminal, or simply a man who loved not ...
... audience shouted: “It wasn't his fault: his kind of love could burn up a city.” This last incident raises one of the most crucial questions for readers/audiences about the play. Is Othello a criminal, or simply a man who loved not ...
Page 5
... audiences in their desire to participate in the play, David Polland asserts that: We the audience, share in its exciting pathology. Our instincts healthily repressed or Sublimated under compulsion from the reality principle, we do not ...
... audiences in their desire to participate in the play, David Polland asserts that: We the audience, share in its exciting pathology. Our instincts healthily repressed or Sublimated under compulsion from the reality principle, we do not ...
Contents
1 | |
The Audiences Role in Othello | 89 |
The Production of Race in Othello | 103 |
Images of White Identity in Othello | 133 |
Roderigo and the Mixed Dramaturgy of Race and Gender in Othello | 147 |
Othellos Judaic Ancestry | 169 |
The State and the Subject of Othello | 189 |
Venetian Ideology or Transversal Power? Iagos Motives and the Means by which Othello Falls | 203 |
Early Modern Jury Trials and the Equitable Judgments of Tragedy | 293 |
Othello Among the Sonnets | 325 |
Tropes of Damnation and Nothingness | 347 |
A Semiotics of Eyeconography in Othello | 363 |
Physiologies and Anatomies in Othello | 379 |
Reading Othello Backwards | 391 |
The Mystery of the Early Othello Texts | 401 |
Stage Violence in Othello | 425 |
Portrait of a Marriage | 221 |
Desdemona Emilia and the Doctrine of Obedience in Othello | 233 |
Morality Ethics and the Failure of Love in Shakespeares Othello | 255 |
Water Imagery and Religious Diversity in Othello | 271 |
An Interview with Kent Thompson Artistic Director of the Alabama Shakespeare Festival | 441 |
Notes on the Contributors | 456 |
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African Aldridge audience audience’s Bianca black actor black Othello blackface Brabantio Cambridge University Press Cassio cast character Christian Critical Essays cultural Cyprus define demona Desdemona Drama Duke Duke’s early modern Elizabethan ello ello’s Emilia English ethical father female figure film final finally find first fit foul papers gender God’s handkerchief husband Iago Iago’s identified ideology interpretation jealousy Jews Kabuki Lodovico London male marriage military Moor Moor’s moral murder Nunn’s Olivier Olivier’s Oxford patriarchal Patrick Stewart Paul Robeson Pechter performance play’s played Othello production Quarto quoted race racial racism reflected relationship Renaissance Review rhetorical Robeson Roderigo role Royal Shakespeare Company scene script seems sexual Shake Shakespeare Festival Shakespeare Quarterly significant social Sonnets soul speare speech stage Theatre theatrical thou tion tragedy tragic Trevor Nunn Turk University of Georgia Venetian Venice violence Welles’s wife woman women words York