Traces productions of Shakespeareâ s Othello from seventeenth-century London to the Metropolitan Opera in twenty-first-century New York. Miles Grier shows how the painted stage Moor and the wife whom he theatrically stains became necessary types, reduced to objects of interpretation for a presumed white male audience.
Traces productions of Shakespeareâ s Othello from seventeenth-century London to the Metropolitan Opera in twenty-first-century New York. Miles Grier shows how the painted stage Moor and the wife whom he theatrically stains became necessary types, reduced to objects of interpretation for a presumed white male audience.
Miles P. Grier is Associate Professor of English at Queens College, City University of New York.
Inhaltsangabe
Introduction: The Residue of Inkface 1. The Moor of Venice Reconstructed "O Bloody Period": Othello's Constitution and Significance "Letter and Affection," or Iago's Motive Reconsidered Interlude: Desdemona's Guilt, or "The Farce of Dead Alive" 2. "Be Thus When Thou Art Dead": Aphra Benh's Remediation of Othello 3. "Pale as thy Smock": Abigail Adams in Desdemona's Whites 4. The Cherokee Othello: Treating with 'The Base Indian' 5. Inkface to Chalkbones: The End of White Character Mastery in Melville's "BC" Epilogue: An Ultimate Reader
Introduction: The Residue of Inkface 1. The Moor of Venice Reconstructed "O Bloody Period": Othello's Constitution and Significance "Letter and Affection," or Iago's Motive Reconsidered Interlude: Desdemona's Guilt, or "The Farce of Dead Alive" 2. "Be Thus When Thou Art Dead": Aphra Benh's Remediation of Othello 3. "Pale as thy Smock": Abigail Adams in Desdemona's Whites 4. The Cherokee Othello: Treating with 'The Base Indian' 5. Inkface to Chalkbones: The End of White Character Mastery in Melville's "BC" Epilogue: An Ultimate Reader
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