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Aspects of Othello by Kenneth Muir,Philip Edwards Pdf
Aspects of Othello, with its companion volume, Aspects of Macbeth, brings together authoritative articles by distinguished Shakespeare scholars. In making their selections from the entire range of Shakespeare Survey volumes, Professors Kenneth Muir and Philip Edwards have borne the interest of general readers in mind as well as the needs of teachers and students. In each volume the plate section includes both the articles' original illustrations and new material and there are specially written prefaces by the editors.
To Die Upon a Kiss--Othello is Shakespeare's great tragic play of love trust and deceit. Iago an officer of the watch sets out to destroy Othello by convincing him that his young bride Desdemona has betrayed him and is secretly in love with another man.What sense had I of her stol'n hours of lust?I saw't not thought it not it harm'd not me;I slept the next night well was free and merry;I found not Cassio's kisses on her lips.He that is robb'd not wanting what is stol'n Let him not know't and he's not robb'd at all.
Mixing of Genres. Comic Aspects in William Shakespeare's Tragedy "Othello" by Annika Klement Pdf
Seminar paper from the year 2016 in the subject English - Literature, Works, grade: 1,7, Johannes Gutenberg University Mainz, course: Modes and Forms of Literature, language: English, abstract: This following term paper deals with generic definitions as well as with comic aspects in Othello, how they are entangled in the tragic action and how they serve to shape the tragedy. Firstly, I shall try to assign Othello to a specific category, namely tragedy. Therefore, Tragedy and Comedy will be clearly defined. In chapter 3, the play will be analysed in terms of its comic aspects. The focus is primarily put on the subject of love in Othello and secondly on the multi-layered character Iago. The aim of this chapter, as it is of the whole term paper, is to illustrate that the tragedy Othello contains comic features.
Even productions of Othello based on very different conceptions of the play can prove successful ad deeply moving. Among critics, however, Othello has roused furous critical disagreement, remarkable for the degree of animosity exposed. After an Introduction in which the problems of analysing this play are outlined, Peter Davison considers six critical approaches to Othello: Genre, Historical and Social, Dramatic Convention and Decorum, Character and Psychological, the Play as Dramatic Poem, and Archetypal Criticism. In the second part of this study, Professor Davison offers his own, contextual approach. He takes into account the historical and social context in which the play was written, the context of the play in performance, and the context in which contemporary audiences see and read Othello. He also provides a guide for further reading.
In his earlier work on King Lear, Mr. Heilman combined a number of critical procedures to form a new and important approach to Shakespearian criticism. His study of Othello displays the maturity of insight and skill in analysis the years have brought him in developing his critical method. Mr. Heilman takes account of stage effects; he traces out literal and symbolic meanings; he analyzes plot relationships; he examines characters in terms of both their psychological and their moral situations, and style in relation to both character and meaning. He traces some effects due to historical meanings which have now been lost by certain words, and he tries to measure the impact of the drama upon, and its significance for, the modern consciousness. Mr. Heilman argues that Othello is at once "a play about love" and "a poem about love," and endeavors to find out how the poetry modifies and even helps determine the nature of the whole. He looks at numerous aspects of "action" (physical activity, psychological movement, intellectual operations) and "language" (speech habits, image types, recurrency in both literal and figurative language), and examines the essentially "dramatic" function of all of these. He finds the dramatis personae interwoven in relationships which may be seen, from one point of view, as "plot" and, from another, as the embodiment of complex themes. He treats Othello and Iago as figures that are not only fitted to a given stage but also represent permanent aspects of humanity-Iago with his "strategies against the spiritual order" and Othello with his "readiness in the victim."
The New Cambridge Shakespeare appeals to students worldwide for its up-to-date scholarship and emphasis on performance. The series features line-by-line commentaries and textual notes on the plays and poems. Introductions are regularly refreshed with accounts of new critical, stage and screen interpretations. This second edition of Othello retains the text and Introduction prepared by Norman Sanders and features a new section by Scott McMillin on recent scholarship and key performances of the play since the 1980s. Building on the full and well-illustrated stage history compiled by Sanders, McMillin focuses on political, feminist and postcolonial treatments of Othello in various parts of the world and discusses important performances on stage, film and television. Sanders' discussion of the stylistic and racial problems facing modern readers and spectators is complemented by McMillin who explores the influence of new historicism and cultural materialism and the issue of black/white casting of the main characters.
Among the most enduring poetry of all time, William Shakespeare’s 154 sonnets address such eternal themes as love, beauty, honesty, and the passage of time. Written primarily in four-line stanzas and iambic pentameter, Shakespeare’s sonnets are now recognized as marking the beginning of modern love poetry. The sonnets have been translated into all major written languages and are frequently used at romantic celebrations. Known as “The Bard of Avon,” William Shakespeare is arguably the greatest English-language writer known. Enormously popular during his life, Shakespeare’s works continue to resonate more than three centuries after his death, as has his influence on theatre and literature. Shakespeare’s innovative use of character, language, and experimentation with romance as tragedy served as a foundation for later playwrights and dramatists, and some of his most famous lines of dialogue have become part of everyday speech. HarperPerennial Classics brings great works of literature to life in digital format, upholding the highest standards in ebook production and celebrating reading in all its forms. Look for more titles in the HarperPerennial Classics collection to build your digital library.
Study and Revise for AS/A-level: Othello by Pete Bunten Pdf
Enable students to achieve their best grade in AS/A-level English Literature with this year-round course companion; designed to instil in-depth textual understanding as students read, analyse and revise Othello throughout the course. This Study and Revise guide: - Increases students' knowledge of Othello as they progress through the detailed commentary and contextual information written by experienced teachers and examiners - Develops understanding of characterisation, themes, form, structure and language, equipping students with a rich bank of textual examples to enhance their coursework and exam responses - Builds critical and analytical skills through challenging, thought-provoking questions and tasks that encourage students to form their own personal responses to the text - Extends learning and prepares students for higher-level study by introducing critical viewpoints, comparative references to other literary works and suggestions for independent research - Helps students maximise their exam potential using clear explanations of the Assessment Objectives, sample student answers and examiner insights - Improves students' extended writing techniques through targeted advice on planning and structuring a successful essay
“Nicole Galland is exceptionally well versed in the fine nuances of storytelling.” —St. Petersburg Times “Galland has an exceptional gift.” —Neal Stephenson The critically acclaimed author of The Fool's Tale, Nicole Galland now approaches William Shakespeare's classic drama of jealousy, betrayal, and murder from the opposite side. I, Iago is an ingenious, brilliantly crafted novel that allows one of literature's greatest villains--the deceitful schemer Iago, from the Bard's immortal tragedy, Othello--to take center stage in order to reveal his "true" motivations. This is Iago as you've never known him, his past and influences breathtakingly illuminated, in a fictional reexamination that explores the eternal question: is true evil the result of nature versus nurture...or something even more complicated?
The Character of Desdemona. A Comparison of William Shakespeare’s "Othello" and Thomas D. Rice’s "Otello" by Julie Dillenkofer Pdf
Seminar paper from the year 2015 in the subject Didactics for the subject English - Literature, Works, grade: 2,3, University of Heidelberg (Anglistisches Seminar), course: The First Century of US-American Drama, language: English, abstract: In this paper, I will compare the character of Desdemona in the play "Othello" by Shakespeare with that in the burlesque opera "Otello" by Rice. I will first analyze the figure of Desdemona in Shakespeare’s play and then in Rice’s opera – one after another. Next, I will compare the two characters of Desdemona and will explore in which ways their qualities coin-cide, or rather, in what extent they differ in their personalities. Lastly, I will briefly summarize the different characters of Desdemona in both "Othello" and "Otello". William Shakespeare’s "Othello" portrays the mixed-race love between Desdemona, a white Venetian beauty, and the Moor Othello, Venice’s general. Mislead by Iago, his ensign and also the play’s villain, Othello develops an unfounded suspicion of his wife Desdemona and his lieu-tenant Cassio, which results not only in Othello’s suicide, but also in the murder of his wife who, as it turns out, has been innocent of adultery all along. The tragedy thus represents love and good on the one hand (embodied by Desdemona) and the involved problem of jealousy and revenge (personified by Othello) – not least the issue of miscegenation – on the other hand. As many of Shakespeare’s works (which usually are adaptations themselves), "Othello", first performed in 1606, has been the basis for numerous subsequent adaptations, such as the burlesque opera by Thomas D. Rice of 1844. The opera’s plot is essentially similar to that of the play by Shakespeare, yet a few changes have been made. In Rice’s parody, Otello and Desdemona have a child and Shakespeare’s handkerchief has become a common towel. Yet the most conspicuous alteration is Desdemona’s resurrection after being killed at the end of the play. Apart from that, it appears that the two characters of Desdemona in both "Othello" and "Otello" are quite alike. Depicted as a rather subordinate role in both the play and the opera, as compared to her husband and the title character Othello/Otello, Desdemona actually portrays the heroine in both stories. Both become victims of their husbands’ jealousy and finally have to die despite being innocent. When taking a closer look, however, it becomes apparent that the two characters are not that comparable in their personality as initially seems to be the case. In fact, they both gradually reveal themselves as rather different people.
