Othello: Revised EditionBloomsbury Publishing, 2016 M02 25 - 448 páginas This second edition of Othello has a new, illustrated introduction by leading American scholar Ayanna Thompson, which addresses such key issues as race, religion and gender, as well as looking at ways in which the play has been adapted in more recent times. Othello is one of Shakespeare's great tragedies-written in the same five-year period as Hamlet, King Lear, and Macbeth. The new introduction attends to the play's different meanings throughout history, while articulating the historical context in which Othello was created, paying particular attention to Shakespeare's source materials and the evidence about early modern constructions of racial and religious difference. It also explores the life of the play in different historical moments, demonstrating how meanings and performances develop, accrue, and metamorphose over time. The volume provides a rich and current resource, making this best-selling play edition ideal for today's students at advanced school and undergraduate level. |
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Página 8
... Iago as a Vice figure or devil. Looking for Iago's cloven foot, Othello says, 'I look down towards his feet, but that's a fable' (5.2.283). Yet Shakespeare's alterations to the genre demonstrate the experimental nature of his work ...
... Iago as a Vice figure or devil. Looking for Iago's cloven foot, Othello says, 'I look down towards his feet, but that's a fable' (5.2.283). Yet Shakespeare's alterations to the genre demonstrate the experimental nature of his work ...
Página 18
... Iago's attentiveness to issues of class and rank ('Preferment goes by letter and affection / And not by old gradation, where each second / Stood heir to th' first' 1.1.35–7) clearly reflects Shakespeare's intertextual interests ...
... Iago's attentiveness to issues of class and rank ('Preferment goes by letter and affection / And not by old gradation, where each second / Stood heir to th' first' 1.1.35–7) clearly reflects Shakespeare's intertextual interests ...
Página 36
... Iago kneels beside him, stating 'Do not rise yet' (3.3.465), theatrically the scene can look like two men kneeling together in prayer. And several ... Iago pledges: Witness that here Iago doth give up The execution of 36 Introduction.
... Iago kneels beside him, stating 'Do not rise yet' (3.3.465), theatrically the scene can look like two men kneeling together in prayer. And several ... Iago pledges: Witness that here Iago doth give up The execution of 36 Introduction.
Página 37
... Iago punctuating this pledge by making himself Othello's property for eternity: 'I am your own for ever' (3.3.482). While many modern directors have interpreted this scene as revealing Iago's hidden motive – his homoerotic love for ...
... Iago punctuating this pledge by making himself Othello's property for eternity: 'I am your own for ever' (3.3.482). While many modern directors have interpreted this scene as revealing Iago's hidden motive – his homoerotic love for ...
Página 39
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Contenido
1 | |
THE TRAGEDY OF OTHELLO THE MOOR OF VENICE | 117 |
LIST OF ROLES | 118 |
THE TRAGEDY OF OTHELLO THE MOOR OF VENICE | 119 |
LONGER NOTES | 337 |
APPENDIX 1 Date | 349 |
APPENDIX 2 The Textual Problem | 357 |
APPENDIX 3 Cinthio and Minor Sources | 375 |
APPENDIX 4 Edward Pudseys Extracts from Othello | 399 |
APPENDIX 5 Musical Settings for Songs in Othello | 401 |
ABBREVIATIONS AND REFERENCES | 405 |
INDEX | 421 |
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Términos y frases comunes
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