DOCSLIB.ORG

24Th Annual Meeting in Los Angeles, California, 1996

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
24Th Annual Meeting in Los Angeles, California, 1996 Sixth World Shakespeare Congress 'Shakespeare and the Twentieth Century ' and 1996 Annual Meeting of the Shakespeare Association of America ·Full House· by Graham Clarke 7 to 14 April1996 Los Angeles arranged by THE INTERNATIONAL SHAKESPEARE ASSOCIATION with !6 The Shakespeare Association of America Printed by Edward Fox & Son Limited, Masons Road, Stratford-upon-Avon, Warwickshire, England. THE INTERNATIONAL SHAKESPEARE ASSOCIATION REGISTRATION The I.S.A. was founded after the first World Shakespeare Congress, held in Vancouver in The registration fee is $175 per person. Delegates, spouses, and guests should register by 1971. Since then the Association has organized five-yearly Congresses in 22 March. After this date the registration fee will be $200. U.S. and Canadian delegates Washington, D.C., Stratford-upon-Avon, Berlin, Tokyo and now, in conjunction with the must be members of the SAA for the calendar year 1996 in order to register for the World Shakespeare Association of America, Los Angeles. Between congresses the I.S.A. Congress. Other delegates should be current members of the I.S.A. or one of the arranges occasional smaller meetings and lectures. It is dependent entirely on member­ national Shakespeare associations which is a corporate member of the I.S.A. ship subscriptions to finance its work. For further details write to the Secretary at the Association headqua1ters- The Shakespeare Centre, Henley Street, Stratford-upon-Avon, Methods of payment: CV37 6QW, England. President: Sir John Gielgud (a) Visa or Mastercard (card number, expiry date, and authorized signature required) Vice-Presidents: Kenneth Muir (University of Liverpool) (b) A check or bank draft in U.S. dollars, made payable to the Shakespeare S. Schoenbaum (University of Maryland) Association of America, and sent to Dr. Nancy Hodge (see below). Han. Vice-President: Levi Fox (Shakespeare Birthplace Trust) Chairman: Ann Jennalie Cook (Vanderbilt University) Spouses and guests need not be members of the I.S.A., the S.A.A., the S.S.. J., etc., but Vice-Chairman: Stanley Wells (Shakespeare Institute, University of Birmingham) they must pay the registration fee of $175 in order to attend Congress functions. If they Secretary: Roger Pringle (Shakespeare Birthplace Trust) wish to attend the receptions only, they must pay $100. Tickets for theater and concert performances and optional tours may be purchased or reserved for spouses regardless of EXECUTIVE COMMITTEE: whether or not they have registered for the Congress. Sukanta Chaudhuri (Jadavpur University) Manuel Conejero (Shakespeare Foundation of Spain) Please note that the reservation forms (and payments) for "Optional Tours" and "LATC Ann Jennalie Cook (Vanderbilt University) Offerings" (as well as for "Hotel Reservations") should not be sent to the SAA's offices, Werner Habicht (Universitat Wi.irzburg) but to the address listed on each form. Nancy Hodge (Shakespeare Association of America) Eldred Jones (University of Sierra Leone) Congress registration fees will be refunded provided such requests are made by 22 March. Marie-Therese Jones-Davies (Universite de Paris-Sorbonne) After that date a $25 handling charge will be made. Nico Kiasashvili (Tbilisi State University) Jae-nam Kim (Shakespeare Association of Korea) The Congress registration form and payment should be sent to: Alexander Leggatt (University of Toronto) Derick Marsh (LaTrobe University) Dr. Nancy E. Hodge Ruth Nevo (Hebrew University of Jerusalem) Shakespeare Association of America Roger Pringle (Shakespeare Birthplace Trust) Department of English Paola Pugliatti (University of Florence) Southern Methodist University Zdenek Sti'fbrny (Charles University, Prague) Dallas, Texas 75275-0435 Yasunari Takahashi (Shakespeare Society of Japan) U.S.A. Robert Weimann (University of California, Irvine) Stanley Wells (Shakespeare Institute, University of Birmingham) FAX 214-768-4129 CONGRESS COMMITTEE: Chairman: Stanley Wells (Shakespeare Institute, University of Birmingham) Secretary: Roger Pringle (Shakespeare Birthplace Trust) Jonathan Bate (University of Liverpool) Catherine Belsey (University of Wales College of Cardiff) Alan Brissenden (University of Adelaide) Manuel Conejero (Shakespeare Foundation of Spain) Ann Jennalie Cook (Vanderbilt University) Werner Habicht (Universitat Wi.irzburg) Nancy Hodge (Shakespeare Association of America) Tetsuo Kishi (Kyoto University) Fran~ois Laroque (Sorbonne Nouvelle) Jill Levenson (Trinity College, Toronto) Jerzy Limon (University of Gdansk) Paola Pugliatti (University of Florence) 2 3 ON ARRIVAL IN LOS ANGELES CONGRESS SOCIAL PROGRAMME From Los Angeles International Airport to the Biltmore Hotel: THEATRICAL PERFORMANCES that those who wish to do research at the Macbeth by the ACTER company, at the Biltmore Huntington must write to Virginia Renner, Readers (1) A shuttle service is available from Los Angeles International to downtown Los on 8 April at 8.00 p.m. Gratis. Services Librarian, in advance to arrange such Angeles hotels (including the Biltmore). Look for blue Super Shuttle vans outside work. the baggage claim area. Frequent departures are available. The cost for the Twelfth Night, by the Cornerstone Theatre approximately 40-minute ride is $12. Company, on 10, 11, 12 April at 8.00 p.m. and at Congress Reception. Hosts: Shakespeare 2.00 p.m. on I 3 April, at the Los Angeles Theater Association of America and the City of Los Center. Booking needed. See enclosed form. Angeles Cultural Affairs Department. On 9 April (2) Taxi service from the Los Angeles airport is available at a rate of $24, with a at 9.00 p.m., at the Biltmore Hotel. Reservation maximum of four riders. A Midsummer Night's Dream, by Will and needed (see Congress registration form). Gratis. Company, on 10, 11 , 12 April at 8.00 p.m. and 2.00 p.m. on 13 April, at the Los Angeles Theater Closing Reception. Hosts: Sponsoring institutions, Center. Booking needed. See enclosed form. and the members of the SAA. On 13 April at 7.00 Reminder p.m. at the Biltmore Hotel. Gratis. Measure for Measure, by the Oasis Theatre It is frequently cool and occasionally rainy in April in Los Angeles. Delegates are Company, on 10, 11, 12 April at 8.00 p.m. and at MUSICAL PERFORMANCES 2.00 p.m. on 13 April, at the Los Angeles Theater The Los Angeles Philharmonic with guest artist advised to bring raincoats and jackets, which are likely to be needed in the evening. Centre. Booking needed. See enclosed form. Midori, 10 April at 8.00 p.m. Tickets available to delegates at half-price at the Philharmonic box C. Bernard Jackson's !ago, by the Inner City office the week of the performance. Coupon pro­ Cultural Center, on 10, 11, 12 April at 8.00 p.m. vided in Congress registration packet at the and at 2.00 p.m. on 13 April, at the Los Angeles Biltmore. Theater Center. Booking needed. See enclosed form. OTHER PERFORMANCES Shakespeare Does Hollywood, a gala production Venus and Adonis, a dramatization by Ben Stewart, featuring stars of stage, TV, film, and music, per­ The illustrations in this brochure are by courtesy of the artist, Graham Clarke. They are taken from black-and-white line on 10 April , from 6.00 p.m., to 7.00 p.m., at the forming scenes, soliloquies, and arias from proofs of a series of eight hand-coloured etchings entitled 'Mr. Wi lliam Shakespeare- The Life and Times Of'. Biltmore Hotel. Reservation needed (see Congress Shakespeare's works, or works inspired by his Individual copies or sets of these limited-edition etchings are avai lable for sa le at the Congress. registration form). Gratis. canon, 9 April, from 7.00 p.m. to 9.00 p.m. at the Biltmore Hotel. Seating limited. Reservation need­ Alms for Oblivion, a dramatization of ed (see Congress registration form). Gratis. Shakespeare's life, written and acted by Gregory Bell, on II April, from 6.00 p.m. to 7.00 p.m., at THEATER WORKSHOPS the Biltmore Hotel. Reservation needed (see ACTER will present a performance workshop on 9 Congress registration form) . Gratis. April from 12.45 p.m. to 2.15 p.m. , at the Biltmore Hotel. Limited seating. Gratis. Broads with Swords, presented by the Los Angeles Women's Shakespeare Company, on I 2 April , A Noise Within, a noted LA classical company, from 6.00 p.m. to 7.00 p.m., at the Biltmore Hotel. will present a lecture/demonstration of As You Like Reservation needed (see Congress registration It staging, 12 April from 2.00 p.m. to 4.00 p.m. at form). Gratis. the Biltmore Hotel. Limited seating. Gratis. Will and Testament (a life after death comedy), by EXHIBITIONS Fred Stone, on 13 April, from 2.00 p.m. to 3.00 At the Huntington Library, "Drawings and Prints p.m., at the Biltmore Hotel. Gratis. from the Extra-Illustrated Turner Shakespeare" and "The Etching Revival in Britain: Selections from FILM FESTIVAL the Russel I. Kully Collection." At the Mark Taper Auditorium of Los Angeles Public Library, on 9, 10 and 13 April. "A Century A wide range of books on Shakespeare and his of Shakespeare on Screen" is an electronic anthol­ contemporaries will be exhibited from 8-13 April ogy of how Shakespeare's words have been envi­ in the Biltmore Hotel. sioned in moving images on film and tape. Detailed schedules available at the Congress regis­ Other supporting programs, including perfor­ tration desk. Seating in the 235-seat theater is mances, are in preparation. Further detail s will be available on a first-come, first-served basis. available at the Congress Information Desk at the Gratis. Biltmore Hotel. RECEPTIONS TERPSICHOREAN EXCESS Host: The Huntington Library in San Marino. On 8 The Shakespeare Association of America and the April, 1.30 p.m. to 4.30 p.m. Delegates will vis it Malone Society host the SAA's annual meeting­ Detail from 'Flower of Cities All' by Graham Clarke the Huntington's galleries, exhibit hall, and exten­ closing dance, featuring the LA Hey Nonny sive grounds prior to a tea in the gardens.
Load more

Recommended publications
  • The Shakespeare Association of America I » 1982 Meeting ((
    THE SHAKESPEARE ASSOCIATION OF AMERICA I » 1982 MEETING (( APRIL 8TH , 10TH MARQUETTE HoTEL MINNEAPOLIS, MINNESOTA THE SHAKESPEARE ASSOCIATION TENTH ANNIVERSARY OF AMERICA OF President, BERNARD BECKERMAN (Columbia Unitersic:v) THE SHAKESPEARE AssociATION oF AMERICA Executit•e Secretary, ANN ) ENNALIE CooK (Vanderbilt University) Adminismuit·e Assistant, RoSEMARY ALLEN (Vanderbilt Unit•ersity) INCORPORATED 1972 TRUSTEES )OHN ANDREWS S. SCHOENBAUM (Folger Shakespeare Library) (Unit·ersity of Maryland) ANNUAL MEETINGS )ONAS BARISH CHARLES SHATTUCK (Unit•ersity of California, Berkeley) (University of Illinois) MARCH 29-31, 1973 STATLER HILTON HoTEL, WASHINGTON, D.C. ANNUAL LECTURER, HARRY LEVIN (Harvard University) STEPHEN BooTH SUSAN SNYDER (University of California, Berkeley) (Swarthmore College) MARCH 28-30, 1974 HuNTINGTON-SHERATON HoTEL, PASADENA, CALIFORNIA ANNUAL LECTURER, RoBERT B. HEILMAN (University of Washington) THELMA GREENFIELD R. W. VAN FossEN (Unit•ersity of Oregon) (University of Toronto) MARCH 20-22, 1975 SHERATON PARK PLAZA HoTEL, NEw HAVEN, CoNNECTICUT ANNUAL LECTURER, HALLETT D. SMITH (Huntington Library) LOCAL ARRANGEMENTS *APRIL 19-25, 1976 STATLER HILTON HOTEL, WASHINGTON, D.C. THOMAS CLAYTON (Unit•ersity of Minnesota) ANNUAL LECTURER, KENNETH MuiR (University of Liverpool) WITH THE ASS ISTANCE OF MARSHA L. RIEBE, ExEcuTivE AssiSTANT, AcADEMIC AFFAIRS, UNIVERSITY OF MINNESOTA APRIL 7-9, 1977 FAIRMONT HoTEL, NEw ORLEANS, LouiSIANA ANNUAL LECTURER, EuGENE W AITH (Yale University) WELCOMING COMMITTEE APRIL 13-15, 1978 HYATT REGENCY HoTEL, ToRONTO, ONTARIO AGNES MARIE FLECK (College of St. Scholastica) ANNUAL LECTURER, VIRGIL WHITAKER (Stanford University) SHIRLEY NELSON GARNER (Unit•ersity of Minnesota) MADELON GoHLKE (University of Minnesota) APRIL 12-14, 1979 SIR FRANCIS DRAKE HoTEL, SAN FRANCISCo, CALIFORNIA LowELL E. JoHNSON (St. Olaf College) ANNUAL LECTURER, G.
    [Show full text]
  • Selected Contemporary Allusions
    Appendix A Selected Contemporary Allusions 1. Robert Greene, Groats- Worth of Witte ( 1592). Quoted and discussed above, pp. 1-6, 53-4. See also Appendix B. 2. Henry Chettle, Kind-Harts Dreame (1592; SR 8 Dec. 1592), from the Epistle, 'To the Gentlemen Readers'. Discussed pp. 7, 21. he that offendes being forst, is more excusable than the wilfull faultie ... lie shew reason for my present writing, and after proceed to sue for pardon. About three moneths since died M. Robert Greene, leauing many papers in sundry Booke sellers hands, among other his Groats­ worth of wit, in which a letter written to diuers play-makers, is offensiuely by one or two of them taken, and because on the dead they cannot be auenged, they wilfully forge in their conceites a liuing Author: and after tossing it two and fro, no remedy, but it must light on me. How I haue all the time of my conuersing in printing hindred the bitter inueying against schollers, it hath been very well knowne, and how in that I dealt I can sufficiently prooue. With neither of them that take offence was I acquainted, and with one of them I care not if I neuer be: The other (i.e. Shakespeare], whome at that time I did not so much spare, as since I wish I had, for that as I haue moderated the heate of liuing writers, and might haue vsde my owne discretion (especially in such a case) the Author beeing dead, that I did not, I am as sory, as if the originall fault had beene my fault, because my selfe haue seene his demeanor no !esse ciuill than he exelent in the qualitie he professes: Besides, diuers of worship haue reported, his vprightnes of dealing, which argues his honesty, and his facetious grace in writting, that aprooues his Art.
    [Show full text]
  • Introduction
    Notes Introduction 1. Andrew Gurr, The Shakespearean Stage, 1574–1642, 3rd edition (Cambridge: Cambridge University Press, 1994), p. 191. 2. For further discussion of the myth of the bare stage see Chapter 1 of this book; Jonathan Gil Harris and Natasha Korda, ‘Introduction: Towards a Materialist Account of Stage Properties’, in Jonathan Gil Harris and Natasha Korda (eds.), Staged Properties in Early Modern English Drama (Cambridge: Cambridge University Press, 2002), pp. 2–7. 3. Aristotle Poetics (trans. Stephen Halliwell) (London: Harvard University Press, 1995), VII.16–20, p. 55. 4. Glynne Wickham, ‘Heavens, Machinery, and Pillars in the Early Theatre and Other Early Playhouse’, in Herbert Berry (ed.), The First Public Playhouse: The Theatre in Shoreditch, 1576–1598 (Montreal: McGill-Queen’s University Press, 1979), p. 6. 5. Thomas H. Dickinson (ed.), Robert Greene (London: Fisher Unwin, 1911), pp. lix–lxi. 6. Kenneth Muir, ‘Robert Greene as Dramatist’, in Richard Hosley (ed.), Essays on Shakespeare and Elizabethan Drama in Honor of Hardin Craig (London: Routledge & Kegan Paul, 1963), p. 48; Charles W. Crupi, Robert Greene (Boston: Twayne Publishers, 1986), p. 115; Charles Mills Gayley, Representative English Comedies (London: Macmillan, 1903), p. 419. 7. Bernard Beckerman, Shakespeare at the Globe, 1599–1609 (New York: Macmillan, 1962); Gerald Eades Bentley, The Professions of Dramatist and Player in Shakespeare’s Time, 1590–1642 (Princeton: Princeton University Press, 1986); T. J. King, Shakespearean Staging, 1599–1642 (Cambridge, MA: Harvard University Press, 1971); Andrew Gurr, Playgoing in Shakespeare’s London, 3rd edition (Cambridge: Cambridge University Press, 2004); S. P. Cerasano, ‘Editing the Theatre, Translating the Stage’, Analytic and Enumerative Bibliography, 4 (1990), pp.
    [Show full text]
  • Sir John Oldcastle and the Construction of Shakespeare's
    SEL38 (1998) ISSN 0039-3657 SirJohn Oldcastle and the Construction of Shakespeare's Authorship DOUGLAS A. BROOKS Let vs returne vnto the Bench againe, And there examine further of this fray. -SirJohn Oldcastle, I.i.124-5 A decade ago the editors of the Oxford William Shakespeare: The CompleteWorks replaced the name of the character called Falstaff in Henry IVPart Iwith a hypothetically earlier version of the character's name, Sir John Oldcastle. The restoration of Oldcastle to the Oxford edition makes it the first authoritative text to undo an alteration which, as scholars have long suspected, Shakespeare himself must have made sometime between a non-extant 1596 performance text and the 1598 quarto of the play. The resulting scholarly debate over this editorial decision has touched on a number of significant issues linked to the authority and authenticity of "Shakespearean" texts, and it has raised important questions about how these texts were shaped by the material, religious, and political conditions in which they were produced.l In the case of HenryIVPart I, crit- ics have struggled to reconstruct how an early version of the text with Oldcastle as the protagonist of the unworthy knight plot might have placed the play and its author in a complicated Douglas A. Brooks recently completed his Ph.D. at Columbia University, and is assistant professor of Shakespeare and Renaissance Drama at Texas A&M University. He is currently working on a book about early modern dramatic authorship and print. 334 SIR JOHN OLDCASTLE position between an individual's reputation and a nation's.
    [Show full text]
  • Learning to See the Theological Vision of Shakespeare's King Lear
    Learning to See the Theological Vision of Shakespeare’s King Lear Learning to See the Theological Vision of Shakespeare’s King Lear By Greg Maillet Learning to See the Theological Vision of Shakespeare’s King Lear By Greg Maillet This book first published 2016 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2016 by Greg Maillet All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-9729-9 ISBN (13): 978-1-4438-9729-7 TABLE OF CONTENTS Polemical Prologue .................................................................................... vii Criticism, Theology, and the Value of Shakespeare’s King Lear Chapter One ................................................................................................. 1 “See Better”: Christian Paradox in Act One of King Lear Chapter Two .............................................................................................. 27 “I Nothing Am”: Confusion and Clarification of Identity in Act Two of King Lear Chapter Three ............................................................................................ 51 “This Night will turn us all to Fools and Madmen”: Storm and the Transformation of Identity
    [Show full text]
  • Kenneth Muir
    KENNETH MUIR Copyright © The British Academy 1998 – all rights reserved Kenneth Arthur Muir 1907–1996 KENNETH MUIR was one of the most eminent Shakespearean scholars and critics of our time. As editor of five of the plays and author of a large number of books and essays on the plays and poems, he is read all over the world. His beautiful speaking of poetry and the lucid and witty presentation of his learning inspired lecture audiences at home and abroad. He generously promoted the work of others, not least as editor of Shakespeare Survey and as the first Chairman and later the President of the International Shakespeare Association. His own work was not limited to Shakespeare: the subjects of his more than fifty books and his almost innumerable articles range from Wyatt, through Renaissance and Romantic writers, to modern poetry and fiction. His range also extended beyond the confines of the English language, to translations of Racine and Corneille and of Golden Age Spanish drama. His zest and industry remained undiminished until shortly before his death, and in terms of publication he was as productive in the twenty years after his retirement from the King Alfred Chair of English Literature in the University of Liverpool as he had been during the forty-five years of his uncommonly active professional life in York, Leeds, and Liverpool. As the fell sergeant Death moves more swiftly than publishers, new essays by him are still appearing, more than a year after his death. The latest of these is a counter-blast to what he saw as ‘Base Uses’ of Shakespeare: characteristic of a scholar and man who, in the words of Ernst Honigmann, the recipient of the Festschrift to which this essay was contrib- uted, was ‘an immense force on the side of sanity and goodness (I can think of no other word) in an increasingly wicked world’.
    [Show full text]
  • 00-Inicio Nº 15.FH11
    Jorge Luis Bueno Alonso Jorge Luis Bueno Alonso A Note for Future Queries on Shakespeare’s Sonnet 116 ... 137 A Note for Future Queries on Shakespeare’s Sonnet 116 ... 137 A Note for Future Queries on Shakespeare’s Sonnet 116: is it a A Note for Future Queries on Shakespeare’s Sonnet 116: is it a Condensed Explanatory résumé of Othello’s Mistakes? Condensed Explanatory résumé of Othello’s Mistakes? Jorge Luis Bueno Alonso Jorge Luis Bueno Alonso University of Vigo University of Vigo Shakespeare’s Sonnet 116 –“Let me not to the Shakespeare’s Sonnet 116 –“Let me not to the marriage of true minds”– has always been read as an marriage of true minds”– has always been read as an attempt a) to define love’s constancy in a world of change, attempt a) to define love’s constancy in a world of change, b) to describe an unaltered and unalterable ideal of true b) to describe an unaltered and unalterable ideal of true love, or even c) to set up a rhetorical rebuttal of the very love, or even c) to set up a rhetorical rebuttal of the very concept of everlasting love. Be as it may, a given reading concept of everlasting love. Be as it may, a given reading is always debatable, incomplete and equally defendable if is always debatable, incomplete and equally defendable if well exposed. In my case, every time I read this sonnet I well exposed. In my case, every time I read this sonnet I have always remembered, perhaps unconsciously, Othello, have always remembered, perhaps unconsciously, Othello, the persona, and the mistakes he commits all along the the persona, and the mistakes he commits all along the play.
    [Show full text]
  • "Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected]
    Ouachita Baptist University Scholarly Commons @ Ouachita Articles Faculty Publications Spring 1999 "Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets Jay Curlin Ouachita Baptist University, [email protected] Follow this and additional works at: https://scholarlycommons.obu.edu/articles Part of the Literature in English, British Isles Commons Recommended Citation Curlin, Jay, ""Undivided Loves": Coordination and Coherence in Shakespeare's Sonnets" (1999). Articles. 130. https://scholarlycommons.obu.edu/articles/130 This Article is brought to you for free and open access by the Faculty Publications at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Articles by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. "Undivided loves": Coordtnalion and Coherence in Shakespeare's Sonnels Let me confess that we two must be twain, Although our undivided loves are one. (Sonnet 36) The reader of touay is generally accustomed to thinking of the sonnets of William Shakespeare as isolated, independent lyric poems. While anthologies have certainly kept alive something of Shakespeare's memory as a writer of nondramatic verse, doing their part to ensure that, "so long as men can breathe or eyes can see," at least certain of his more famous sonnets will continue to live, they have also tended to strengthen the perception that one should approach Shakespeare's sonnets individually, with little sense of any larger context of which they might be a part. Indeed, it has been suggested that those of Shakespeare's sonnets that have been made popular to a general audience by their regular inclusion in anthologies are precisely those that can be most easily severed from the sequence, and that those that bear clear traces of having been taken from a sequence have no hope of ever achiev­ ing the more permanent renown of an "anthology piece" (Crossman 481).
    [Show full text]
  • (PDF) Othello (Penguin Shakespeare) William Shakespeare, Kenneth Muir, Stanley W
    (PDF) Othello (Penguin Shakespeare) William Shakespeare, Kenneth Muir, Stanley W. Wells, T. J. B. Spencer, T. Mcalindon - pdf free book online free Othello (Penguin Shakespeare), online pdf Othello (Penguin Shakespeare), Othello (Penguin Shakespeare) Popular Download, read online free Othello (Penguin Shakespeare), Read Online Othello (Penguin Shakespeare) Book, Othello (Penguin Shakespeare) Free PDF Online, online pdf Othello (Penguin Shakespeare), Read Othello (Penguin Shakespeare) Full Collection, pdf free download Othello (Penguin Shakespeare), by William Shakespeare, Kenneth Muir, Stanley W. Wells, T. J. B. Spencer, T. McAlindon pdf Othello (Penguin Shakespeare), Download Online Othello (Penguin Shakespeare) Book, Free Download Othello (Penguin Shakespeare) Full Version William Shakespeare, Kenneth Muir, Stanley W. Wells, T. J. B. Spencer, T. McAlindon, Download PDF Othello (Penguin Shakespeare) Free Online, Read Othello (Penguin Shakespeare) Online Free, Othello (Penguin Shakespeare) Free Download, PDF Othello (Penguin Shakespeare) Full Collection, Read Othello (Penguin Shakespeare) Full Collection, Read Othello (Penguin Shakespeare) Online Free, pdf free download Othello (Penguin Shakespeare), Othello (Penguin Shakespeare) Full Collection, CLICK FOR DOWNLOAD azw, epub, mobi, pdf Description: When I was at school yesterday the family's car went missing, said Tom Wienger-Chiwa who is currently in hospital with a rare back injury. We got home about 20 minutes before we heard anything. He couldn't see himself until he saw that it appeared
    [Show full text]
  • Love Relationships and Cuckoldry in Othello and Much Ado Elizabeth Falconer Denison University
    Articulāte Volume 3 Article 6 1998 "My Life Upon Her Faith": Love Relationships and Cuckoldry in Othello and Much Ado Elizabeth Falconer Denison University Follow this and additional works at: http://digitalcommons.denison.edu/articulate Part of the English Language and Literature Commons Recommended Citation Falconer, Elizabeth (1998) ""My Life Upon Her Faith": Love Relationships and Cuckoldry in Othello and Much Ado," Articulāte: Vol. 3 , Article 6. Available at: http://digitalcommons.denison.edu/articulate/vol3/iss1/6 This Article is brought to you for free and open access by Denison Digital Commons. It has been accepted for inclusion in Articulāte by an authorized editor of Denison Digital Commons. 34 Wyatt Holliday genre, which I think bear stating (or repeating, at tan in return for his escape, is thrown from a moun- least). First, whenever a someone becomes involved tain-top by the same Satan, left alive where he falls so "MY LIFE UPON HER FAITH": LOVE RELATIONSHIPS AND CUCKOLDRY in an incestuous relationship, that person is doomed. that the birds, animals and bugs may pick his body IN OTHELLO AND MUCH ADO But secondly, and of paramount importance, I would apart while he still breathes. assert that the presence of incest in at least these two With this final image of horror, it is obvious BY ELIZABETH FALCONER '00 Gothic novels displays the ultimate power of the that the convention of incest within the Gothic genre Love relationships and marriage during the would simply endure mere disapproval from the com- Christian (or Catholic) Church. Beatrice cannot was used for the most part to invoke disgust and ab- Renaissance boasted very specific social roles for both munity.
    [Show full text]
  • Othello, Macbeth , and King Hear
    R M Christofides Shakespeare and Equivocation Language and the Doom in Hamlet, Othello, Macbeth , and King Hear PhD Cardiff University 2008 UMI Number: U584315 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U584315 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 DECLARATION This work has not previously been accepted in substance for any degree and is not currently submitted^candidature for any degree. Signed ........... .. (candidate) Date STATEMENT 1 This thesis is being submitted in partial fulfilment of the requirements for the degree of PhD. Signed (candidate) Date .... .. STATEMENT 2 This thesis is the result of my own independent work/investigation, except where otherwise stated^Other sources are acknowledged by explicit references. S igned ffl. : ... .. (candidate) D ate m / p .i / o Z. STATEMENT 3 I hereby give consent for my thesis, if accepted, to be available for photocopying and for inter-library loan, and for the tide and summary to be made available to outside organisations.
    [Show full text]
  • “A Rarity Most Beloved”: Shakespeare and the Idea of Tragedy David Scott Kastan
    1 “A rarity most beloved”: Shakespeare and the Idea of Tragedy David Scott Kastan All words are pockets into which now this, now that is put, and sometimes many things at once. Friedrich Nietzsche, The Wanderer and his Shadow It is upon the pillars of the great tragedies – Hamlet, Othello, King Lear, and Macbeth1 – that Shakespeare’s reputation most securely rests, and indeed it is the tragic plays in general that seem most robustly to confirm Shakespeare’s greatness. The tragedies arguably test the emotional resources of their readers and audiences more strenuously than the comedies or histories, confirming a generic bias that Shakespeare’s own age often expressed. In the Induction to A Warning for Fair Women (1599), Tragedy, with whip in one hand and a knife in the other, appears on stage to insist upon her supremacy in the repertory: Comedy is but “slight & childish,” designed merely “To tickle shallow iniudiciall eares,” but Tragedy is made of sterner stuff. Its claim to “raigne as Queene / In great Apollos name and all the Muses” (Ind., 75–6) rests upon its ability to present passions that must moue the soule, Make the heart heauie and throb within the bosome, Extorting teares out of the strictest eyes, To racke a thought and straine it to his forme, Untill I rap the sences from their course. This is my office. (Induction, 44–8) And although Comedy aggressively contests Tragedy’s claim to generic preeminence, asserting the stultifying predictability of its plots (“some damnd tyrant to obtaine a crowne, / Stabs, hangs, impoysons, smoothers, cutteth throats”; 49–50), many would assent to Tragedy’s aesthetic superiority, like Kyd’s Heironomo, finding Comedy easy and self-indulgent, only “fit for common wits” (The Spanish Tragedy, 4.1.157).
    [Show full text]