Search Results for othello

... as an authorizing category in cultural analysis, I focus on Shakespeare’s well-known liter- ary meditation on visual proof (and visual perception) in Othello. Reemphasizing the problems that nag materialist epistemologies, I examine the role of material (ocu...

... and illustrates the potential complexity of these situations by the way in which narrators unexpectedly shift between speaking and listening roles in Harold Pinter’s play The Collection. The second capacity, “identity work,” is examined through a case study of Shakespeare’s Othello, where narrative...

... of these situations by the way in which narrators unexpectedly shift between speaking and listening roles in Harold Pinter’s play The Collection. The second capacity, “identity work,” is examined through a case study of Shakespeare’s Othello, where narrative and its construction become a major theme...

... of Shakespeare’s Othello, where narrative and its construction become a major theme. The play focuses on the kinds of identity Othello claims (or fashions) for himself by his narration in the first act of the play, and how they (as well as his limitations as a listener) relate to the way he later succumbs...

... of art’’ (ix). There is no predicting Othello or The Night Watch. But we can ‘‘describe the systems that allow specific examples 1. An exception that in its way supports my point is that strain of theory that extends from Victor Shklovsky and the Russian Formalists of the 1920s through the New...

... investigation of a series of letters to the editor by ‘‘Gus- tavus Vassa an essay by ‘‘Gustavus and one by ‘‘Othello’’ is part of the standard sort of attribution study that has long been a staple of scholar- ship. The wrinkle in ‘‘Possible Gustavus Vassa/Olaudah Equiano Attribu- tions’’ is that the freed...

...,” in Approaches to Teaching Milton’s “Paradise Lost,” edited by Peter C. Herman (2012). She recently edited the Othello iPad app for the Folger Luminary Shakespeare. ...

... suggest that we are all Cartesians now? In Evolving Hamlet (2011), I collect a few literary specimens that imply not. I show how Othello’s doubts about Des- demona were felt differently by pre-Cartesian audiences than by post-Car- tesian ones. I trace how Descartes’s skeptic encouraged the deeply...

.... A. ( Cambridge : Cambridge University Press ). 2003 [1623] Othello , edited by Pechter Edward ( New York : Norton ). Siefkes Martin 2010 “ Power in Society, Economy, and Mentality: Towards a Semiotic Theory of Power ,” Semiotica 181 ( 1-4 ): 225 – 261 . Simmons Ian G...

... I am one, sir, that comes to tell you your daughter and the Moor are now making the beast with two backs. Iago, in Othello, I.i. Metaphors, like the nasty one cited above, are not called fertile...

... of authorship. The next two essays focus on Shakespeare’s plays. Douglas M. Lanier analyzes film adaptations of Othello, and Richard Burt probes the “Hauntographology” (216) of Hamlet on screen. Lise Hopkins details the similarities between Shakespeare and Austen and compares the adaptations of their works...

... All these signal a return to romantic theories of authorship. The next two essays focus on Shakespeare’s plays. Douglas M. Lanier analyzes film adaptations of Othello, and Richard Burt probes the “Hauntographology” (216) of Hamlet on screen. Lise Hopkins details the similarities between...

... of authorship. The next two essays focus on Shakespeare’s plays. Douglas M. Lanier analyzes film adaptations of Othello, and Richard Burt probes the “Hauntographology” (216) of Hamlet on screen. Lise Hopkins details the similarities between Shakespeare and Austen and compares the adaptations of their works...

... All these signal a return to romantic theories of authorship. The next two essays focus on Shakespeare’s plays. Douglas M. Lanier analyzes film adaptations of Othello, and Richard Burt probes the “Hauntographology” (216) of Hamlet on screen. Lise Hopkins details the similarities between...

... of authorship. The next two essays focus on Shakespeare’s plays. Douglas M. Lanier analyzes film adaptations of Othello, and Richard Burt probes the “Hauntographology” (216) of Hamlet on screen. Lise Hopkins details the similarities between Shakespeare and Austen and compares the adaptations of their works...

... by the men playing Othello and Iago would be prepared for the greater independence and chal- lenges of a role like Cleopatra. The textual and performance history of Love’s Cure provides additional information: textual scholars have questioned whether Clara and Lucio appeared in the original play...

...-Jones, Katherine 2004 Review of Othello and Hamlet, Times Literary Supplement , November 26. Ellrodt, Robert 1986 “Shakespeare the Non-dramatic Poet,” in The Cambridge Companion to Shakespeare Studies , edited by Stanley Wells, 35 -48 (Cambridge: Cambridge University Press). Fineman, Joel...

... and theatrical reincarnations, Pollak (who is Ashkenazi) has never played a “sweetheart” either, but, rather, has made a career of portraying tragic, cruel, or antagonistic characters (such as in the theatrical plays King Lear and Othello ). Moreover, in real life Pollak gained notoriety as the “bad boy...

..., and the Colonial Encounter: The Case of Wulf Sachs’s Black Hamlet in Post-Colonial Shakespeares, edited by Ania Loomba and Martin Orkin, (London: Routledge). Bradley, A. C. Shakespearean Tragedy: Lectures on ‘‘Hamlet ‘‘Othello ‘‘King Lear and ‘‘Macbeth’’ (Harmondsworth: Penguin Books...

...’’ to the behavior and motivation of Othello, Napoleon, and our next-door neighbor. Equally striking are the parallels between our emotive responses elicited by admittedly fictive events and by events believed either to have occurred in the past or to be occurring at present. Furthermore our Some issues raised...