"What Is the Matter?" in Othello Author(S): John Shaw Source: Shakespeare Quarterly, Vol

Total Page:16

File Type:pdf, Size:1020Kb

George Washington University "What is the Matter?" in Othello Author(s): John Shaw Source: Shakespeare Quarterly, Vol. 17, No. 2 (Spring, 1966), pp. 157-161 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2868241 . Accessed: 22/03/2013 07:55 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org This content downloaded from 140.233.2.215 on Fri, 22 Mar 2013 07:55:20 AM All use subject to JSTOR Terms and Conditions "Whatis thematter?" in Othello JOHN SHAW HE actorplaying the role of Gratianoor Montanoin Othello has the unenviabletask (as minorcharacters must have) of asking the necessarybut wholly inadequate question when confrontedby theghastly spectacle in theMoor's bedchamber at the close of the tragedy:"What is the matter?"It is a feeble expressionof astonishment,for does not the divine Desdemona lie murderedon her bed, and is not Emilia in the processof vio- lentlydisabusing Othello of his fatalmisjudgment of the characterof "honest, honest Iago"? Indeed, what is the matter,and how could it ever be fully explained?Obviously, Othello and Emilia are not going to pause long enough to explain,even if theyfully understood what the matterwas. The point is, however,this plain questionhas takenon a cruel ironyas it cuttinglyexposes the bewilderingdiscrepancy between the naive request,on the one hand, and the appallingjumble of intrigueand error,on the other.It is my contention that Shakespearehas used the question in a patternof repetition-itoccurs no fewerthan twenty times-in orderto generatejust such irony. Let us begin by tracingquickly the appearanceof the phrasethrough the play,measuring with it thesituation to be explained. At first,logical explanationsto the questioncan quite easily be returned, thoughthey are not alwaysforthcoming. Brabantio asks "What is thematter?" (I. i. 83) afterIago and Roderigohave so brazenly"called him up". The an- swer is simple,a fact:Desdemona has eloped withOthello. Next, Othello puts the question to Cassio when the latterhas requestedOthello's "post-haste appearance"at the Senate: "What is thematter, think you?" (I. ii. 38). The an- swer is again factual: "Somethingfrom Cyprus." It is the Turkish prepara- tions,we findlater. Then comesthe Duke, speakingto the fumingBrabantio: "Why, what's the matter?"(I. iii.58). But now the matterhas become some- what complicated,for the explanationfor Desdemona's deception of her fatheris both simple and mysterious,her love having so strangelydefied therules of socialdecorum and logic: She is abused,stol'n from me and corrupted By spellsand medicinesbought of mountebanks. For natureso preposterouslytoerr, Beingnot deficient, blind, or lame of sense, Sanswitchcraft could not. (I. iii.60-64) Othello and Desdemona are able to convincethe Senate,and us, of the reality of theirlove, unlikely though it is; but thesituation, for Brabantio at least,must neverthelessremain "a mangledmatter". This content downloaded from 140.233.2.215 on Fri, 22 Mar 2013 07:55:20 AM All use subject to JSTOR Terms and Conditions I58 SHAKESPEARE QUARTERLY In the secondact the situationgrows complex and entangledas the question requestingan explanationis repeatedlyput. Montanocries "What's the matter, Lieutenant?" (II. iii. I50) to Cassio when the latterhas been pommelingRo- derigo.We, the audience,know what "the matter"is: lago, fromspite, has been tryingto have Cassio "on the hip", to "abuse him to the Moor"; he also lustsafter Desdemona whom he hopes somehowto win to his bed in orderto repayOthello for having (as Iago thinks) seduced Emilia; he also hopes to put Othello into a jealousy"so strongThat judgmentcannot cure"; and he is exploiting"this poor trashof Venice",Roderigo, for these purposes in addition to the fun of gulling him of his money.That is what "the matter"is. Thus, Cassio's drunkenoutburst in answer to Montano'squestion, "A knave teach me my duty?I'll beat theknave into a wickerbottle", is some distancefrom the truthof the situation. Then, the brawl concluded,Othello demands an explanationthree times: "What is thematter here? . What is thematter, masters? ... What's themat- ter?"all withinthirty lines (II. iii. 63; I76; I93). An explanationis indeed offeredby Iago, but it is not the whole truth,as he himselfcunningly implies: "More of this matter cannot I report" (I. iii.240). Othello, however, re- luctantlyaccepts Iago's statement,but he misconstruesthe doubtlago raisedas bias in favorof Cassio: I know,Tago, Thyhonesty and lovedoth mince this matter (246-247) At thismoment Desdemona appears,and with the situationabundantly com- plicatedby half-truthsand innuendoes,cross-purposes and evil intentions,she too asks the simplequestion: "What's the matter?"(II. iii. 251). We are now well aware of the discrepancybetween the plain, directquestion and the per- niciousweb of malice so skilfullyspun by Iago. Even by the conclusionof the thirdact Desdemona persistsin believinglogical explanationscan be found somewhereto accountfor Othello's "clear spirit"having been "puddled",per- haps something"sure of State".And Emilia can only reply,"Pray heaven,it be State matters. and no conceptionnor no jealous toy" (III. iv. I59). From the fourthact on the questionassumes a heighteneddramatic irony. First, Cassio, upon discoveringOthello in his trance,asks earnestlyof Lago, "What's thematter?" (IV. i. 50) to whichIago replies,"My lordis falleninto an epilepsy",an answerwhich, whether it be the propermedical diagnosis or not, is hardlythe full truthof the situation.Soon after,Iago himself,feigning in- nocence,and with great dramaticirony, asks the question of Desdemona: "What's the matter,lady?" (IV. ii. II4). She cannotreply, but Emilia does: Alas,Tago, my lord hath so bewhoredher, Thrownsuch despite and heavyterms upon her, As truehearts cannot bear. (IV. ii. 115-II7) Again, the answertouches only the surfaceand consequentialmanifestation of "thematter", a factIago well knows. But we are not done withthe question.In the firstscene of thelast act,dur- ing the scufflein the dark, and again with pretendedinnocence, Iago asks "What's the matter?" (V. i. 50), this time with increasedirony. Though he This content downloaded from 140.233.2.215 on Fri, 22 Mar 2013 07:55:20 AM All use subject to JSTOR Terms and Conditions "WHAT IS THE MATTER?" IN OTHELLO I59 knowsthe general circumstances of the brawl, he doesnot realize as yetthat itsoutcome has not been entirely successful: Cassio and Roderigoboth still live. He is able to killRoderigo, but, before he can stabCassio, Lodovico and Gra- tianoapproach. Then Bianca enters upon this scene in which,for the first time, evenIago is beginningto losehis strong grip on thewhirling events: "What is thematter, ho?" (V. i. 75) she cries.But she is ignoreduntil lago beginsto improvisehis scheme to implicateher, at whichpoint Emilia also appears: "'las, what'sthe matter? what's the matter, husband?" (V. i. iii). By thistime, with Roderigomortally wounded and withOthello on his wayto killDesdemona, havingheard (as he thought,mistakenly) Cassio lament "O villainthat I am"; withCassio bleeding; with Lodovico and Gratianofrightened and bewildered; and withIago castingsuspicions upon Bianca-and the wholescene having takenplace in thedark-the situation could hardly be moreconfused. What is thematter, indeed! And so we arriveat thefinal scene. Here Desdemonain all innocencefirst asksOthello desperately: "What's the matter?" (V. ii.47), a hopelessquestion now,for Othello is alreadygnawing his netherlip and passionis shakinghis veryframe. Nor doesOthello respond to her question; it is toolate for explana- tions.So theirrevocable deed is done.Then comes Emilia with the news of the brawljust witnessed, and Othelloputs the question to her:"What's the matter withthee now?" (V. ii. I05). Desdemona'sdeath is discovered,and soonothers arrive.Montano asks, "What is thematter?" (V. ii.i68); Gratianoasks, "What is thematter?" (V. ii. I70); and finallyGratiano, as he returnsto thebedcham- berin whichDesdemona and Emiliaare now dead and whereOthello is pre- paringfor his "journey'send", asks the question for the last (and twentieth) time:"What is thematter?" (V. ii. 259). Whileit is truethat this question is a naturalone to ariseoften out of a playin whichso manystrange events tumble one uponanother, and therefore itsunusually frequent repetition might not appear to be a calculateddramatic effect,the fact is thatin no otherShakespearean play is it usedanywhere nearly so persistently.In Hamlet, to takeonly one example,though the phrase does occur,it doesnot strike one as usedfor any dramatic effect. We note,in fact, alternatephrases substituted where we mightexpect the question.When Gertrudeenters with the sad newsof Ophelia'sdeath, Claudius says "How now,sweet Queen" in placeof "What'sthe matter?" Or, Fortinbras,entering uponthe disorder of the final scene-a parallelwith Gratiano entering
Recommended publications
  • Bibliography for the Study of Shakespeare on Film in Asia and Hollywood
    CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 6 (2004) Issue 1 Article 13 Bibliography for the Study of Shakespeare on Film in Asia and Hollywood Lucian Ghita Purdue University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the Comparative Literature Commons, and the Critical and Cultural Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <clcweb@purdue.edu> Recommended Citation Ghita, Lucian. "Bibliography for the Study of Shakespeare on Film in Asia and Hollywood." CLCWeb: Comparative Literature and Culture 6.1 (2004): <https://doi.org/10.7771/1481-4374.1216> The above text, published by Purdue University Press ©Purdue University, has been downloaded 2531 times as of 11/ 07/19.
    [Show full text]
  • Othello, Colin Powell, and Post-Racial Anachronisms
    Othello, Colin Powell, and Post-Racial Anachronisms KYLE G RADY If progressive people, most of whom were white, could so blindly reproduce a version of the status quo and not “see” it, the thought of how racial politics would be played out “outside” this arena was horrifying. — bell hooks1 NWRITINGO THELLO, SHAKESPEARE PROFOUNDLY COMPLICATES ITS I OSTENSIBLE SOURCE, CINTHIO’ S G LI H ECATOMMITHI.This complex- ity is crafted through various additions and, as Coleridge famously observed, key subtractions.2 Removing Iago’s obvious motives, for example, develops a more mercurial and complicated villain, while also amplifying the senselessness of the final tragedy. In Cinthio’s tale, there is a satisfying denouement in which we learn that “all these events were told” by one “who knew the facts.”3 Shakespeare replaces this certitude with loose ends. Iago, the key to better grasping the play’s outcome, is resolutely uncommunicative once implicated, telling his accusers “What you know, you know. / From this time forth I never will speak word.”4 And, in what reads as a final longing for the clarity denied to the play, Othello voices an intractable charge: “Speak of me as I am” (5.2.351). As the drama’s lively critical afterlife demonstrates, there is a three-dimension- ality to Othello that thwarts attempts to fully meet this request. For their insight, I am sincerely grateful to the participants of the 2015 Shakespeare Association of America seminar “Early Modern Race / Ethnic / Diaspora Studies,” especially the seminar leaders, Kim F. Hall and Peter Erickson. Many thanks are also due to Michael Schoenfeldt and Valerie Traub for their generous feedback on this essay.
    [Show full text]
  • Performing Prayer in Shakespeare's Sonnets
    Access Provided by Harvard University at 01/28/13 5:08PM GMT Love’s Rites: Performing Prayer in Shakespeare’s Sonnets R H - Iaddressed to the beloved in Shakespeare’s Sonnets, the poet defends what seems like a penchant for rewriting the same poem over and over. Against the implicit accusations of his beloved, the poet compares his apologia in Sonnet 108 to a kind of spoken prayer, a highly ritualized and publicly performed devo- tional gesture: like prayers diuine, I must each day say ore the very same, Counting no old thing old, thou mine, I thine Euen as when first I hallowed thy faire name. (108.5–8)1 Echoing the beloved’s doubts, he asks whether repeated words have the capacity to express the depth of his love: “What’s new to speake, what now to register, / 6at may expresse my loue, or thy deare merit?” (ll. 3–4). 6ese questions have bothered more than just the poet’s friend. Generations of critics of the Sonnets have shared the beloved’s concern over the repetitive nature of the sequence’s devotional tropes, finding that the blandness of senti- ment betrays a desire that expresses itself “monotheistically, monogamously, monosyllabically, and monotonously.”2 Moreover, the Sonnets’ references to litur- I thank my colleagues at the Renaissance Colloquium at Harvard University for their responses to an earlier version of this essay. In particular, Misha Teramura offered valuable insight about my historical treatment of the antitheatrical tradition. Stephen Greenblatt read a later version of the manuscript in its entirety and clarified and strengthened my argument.
    [Show full text]
  • Hamlet on the Screen Prof
    Scholars International Journal of Linguistics and Literature Abbreviated Key Title: Sch Int J Linguist Lit ISSN 2616-8677 (Print) |ISSN 2617-3468 (Online) Scholars Middle East Publishers, Dubai, United Arab Emirates Journal homepage: https://saudijournals.com/sijll Review Article Hamlet on the Screen Prof. Essam Fattouh* English Department, Faculty of Arts, University of Alexandria (Egypt) DOI: 10.36348/sijll.2020.v03i04.001 | Received: 20.03.2020 | Accepted: 27.03.2020 | Published: 07.04.2020 *Corresponding author: Prof. Essam Fattouh Abstract The challenge of adapting William Shakespeare‟s Hamlet for the screen has preoccupied cinema from its earliest days. After a survey of the silent Hamlet productions, the paper critically examines Asta Nielsen‟s Hamlet: The Drama of Vengeance by noting how her main character is really a woman. My discussion of the modern productions of Shakespeare begins with a critical discussion of Lawrence Olivier‟s seminal production of 1948. The Russian Hamlet of 1964, directed by Grigori Kozintsev, is shown to combine a psychological interpretation of the hero without disregarding its socio-political context. The action-film genre deployed by Franco Zeffirelli in his 1990 adaptation of the play, through a moving performance by Mel Gibson, is analysed. Kenneth Branagh‟s ambitious and well-financed production of 1996 is shown to be somewhat marred by its excesses. Michael Almereyda‟s attempt to present Shakespeare‟s hero in a contemporary setting is shown to have powerful moments despite its flaws. The paper concludes that Shakespeare‟s masterpiece will continue to fascinate future generations of directors, actors and audiences. Keywords: Shakespeare – Hamlet – silent film – film adaptations – modern productions – Russian – Olivier – Branagh – contemporary setting.
    [Show full text]
  • Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(S): Judiana Lawrence Source: Shakespeare Quarterly, Vol
    George Washington University The Shakespeare Association of America, Inc. Natural Bonds and Aristic Coherence in the Ending of Cymbeline Author(s): Judiana Lawrence Source: Shakespeare Quarterly, Vol. 35, No. 4 (Winter, 1984), pp. 440-460 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2870163 Accessed: 11-08-2016 14:56 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. George Washington University, The Shakespeare Association of America, Inc., The Johns Hopkins University Press, Folger Shakespeare Library are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly This content downloaded from 66.171.203.97 on Thu, 11 Aug 2016 14:56:57 UTC All use subject to http://about.jstor.org/terms Natural Bonds and Artistic Coherence in the Ending of Cymbe line JUDIANA LAWRENCE YMBELINE, THOUGH ONE OF THE FINEST OF Shakespeare's later plays now on the stage, goes to pieces in the last act": thus George Bernard Shaw justifies his decision to provide a rewritten fifth act for the 1945 pro- duction of the play at the Shakespeare
    [Show full text]
  • Mucedorus and the Birth of Merlin at the Los Angeles Globe
    368 SHAKESPEARE QUARTERLY with the attitudes of the other male characters in the production. The tribunes, Sicinius and Junius Brutus, were urban hustlers who confidently sported fashionable walking sticks, d la 1890s, when it seemed apparent that Marcius had lost his bid for power against them. In the final scene the envelope containing the terms for peace between Rome and the Volsces was refused and silently returned to the briefcase in which it was delivered. War would continue, as would the irrational forces that shape such conflicts, with or without proud and unresponsive leaders like Marcius. His life was given a wider perspective in this final, silent moment with the envelope, a perspective in which neither his guilt nor Downloaded from https://academic.oup.com/sq/article/41/3/368/5085016 by guest on 29 September 2021 our affection really figured. Peace is finally out of Marcius's hands, carried instead by the unseen and unspoken forces that have controlled people and events throughout history. Mucedorus and The Birth of Merlin at the Los Angeles Globe JOSEPH H. STODDER The plan of Globe Playhouse producers R. Thad Taylor and Jay Uhley to perform the fifteen most noteworthy of the apocryphal plays is continuing, but they are being offered at a slower pace than had originally been intended. After a promising beginning (Sir Thomas More in 1984, then seven plays between July 1985 and March 19871), the Globe was confronted by the restrictions imposed by the new Actors' Equity Association rules. The Los Angeles Theatre Plan of October 1988 removed the equity waiver (a release permitting low-budget houses to function without paying directors, actors, and crews) under which small theatres such as the Globe had been operating.
    [Show full text]
  • Shakespeare Apocrypha” Peter Kirwan
    The First Collected “Shakespeare Apocrypha” Peter Kirwan he disparate group of early modern plays still referred to by many Tcritics as the “Shakespeare Apocrypha” take their dubious attributions to Shakespeare from a variety of sources. Many of these attributions are external, such as the explicit references on the title pages of The London Prodigal (1605), A Yorkshire Tragedy (1608), 1 Sir John Oldcastle (1619), The Troublesome Raigne of King John (1622), The Birth of Merlin (1662), and (more ambiguously) the initials on the title pages of Locrine (1595), Thomas Lord Cromwell (1602), and The Puritan (1607). Others, including Edward III, Arden of Faversham, Sir Thomas More, and many more, have been attributed much later on the basis of internal evidence. The first collection of disputed plays under Shakespeare’s name is usually understood to be the second impression of the Third Folio in 1664, which “added seven Playes, never before Printed in Folio.”1 Yet there is some evidence of an interest in dubitanda before the Restoration. The case of the Pavier quar- tos, which included Oldcastle and Yorkshire Tragedy among authentic plays and variant quartos in 1619, has been amply discussed elsewhere as an early attempt to create a canon of texts that readers would have understood as “Shakespeare’s,” despite later critical division of these plays into categories of “authentic” and “spu- rious,” which was then supplanted by the canon presented in the 1623 Folio.2 I would like to attend, however, to a much more rarely examined early collection of plays—Mucedorus, Fair Em, and The Merry Devil of Edmonton, all included in C.
    [Show full text]
  • Peter Erickson: Publications Books Citing Shakespeare: The
    Peter Erickson: Publications Books Citing Shakespeare: The Reinterpretation of Race in Contemporary Literature and Art (New York: Palgrave Macmillan, 2007). Reprinted in: Fred Wilson: A Critical Reader, ed. Doro Globus (London: Ridinghouse, 2011), 199-219. Rewriting Shakespeare, Rewriting Ourselves (Berkeley: University of California Press, 1991). Paperback edition, 1994. Reprinted in: Shakespearean Criticism 55 (Detroit: Gale, 2000), 101-109; Poetry Criticism 32 (Detroit: Gale, 2001), 18-23; Shakespeare’s Problem Plays, ed. Simon Barker (Basingstoke: Palgrave, 2005), 54-73. Version of Chapter 7 published under the title “ ‘Shakespeare’s Black?’: The Role of Shakespeare in Naylor’s Novels,” in Gloria Naylor: Critical Perspectives Past and Present, ed. Henry Louis Gates, Jr. and K.A. Appiah (New York: Amistad, 1993), 231-48. Patriarchal Structures in Shakespeare’s Drama (Berkeley: University of California Press, 1985). Reprinted in: As You Like It (New York: New American Library, 1987), 222-37; Shakespearean Criticism 5 (Detroit: Gale, 1987), 168-73; William Shakespeare’s As You Like It, ed. Harold Bloom (New York: Chelsea House, 1988), 113-30; William Shakespeare’s Henry V, ed. Harold Bloom (New York: Chelsea House, 1988), 111-33; Shakespeare’s Comedies, ed. Gary F. Waller (London: Longman, 1991), 155-67; King Lear, ed. Harold Bloom (New York: Chelsea House, 1992), 67-73; The Winter’s Tale, ed. John F. Andrews (London: Everyman, 1995), 276-79; Shakespearean Criticism 31 (Detroit: Gale, 1996), 137-41; As You Like It, ed. John F. Andrews (London: Everyman, 1997), 284-86; As You Like It (New York: Signet, 1998), 180-95; Shakespearean Criticism 44 (Detroit: Gale, 1999), 189-95; Shakespeare for Students: Book III (Detroit: Gale, 2000), 546-53; As You Like It, ed.
    [Show full text]
  • Dr. Heidi Craig Hcraig@Tamu.Edu
    Dr. Heidi Craig hcraig@tamu.edu Department of English, Texas A&M University, 349 LAAH, 4227 TAMU, College Station, TX 77843 Tel: 1 (213) 249-3722 http://heidi-craig.weebly.com/ EMPLOYMENT Assistant Professor, Texas A&M University, 2019-present Editor, World Shakespeare Bibliography (www.worldshakesbib.org), 2019-present EDUCATION Doctor of Philosophy, English, Book History & Print Culture Certificate in Digital Humanities, Centre for Medieval Studies (2015) 2017 University of Toronto Dissertation Title: “A Play without a Stage: English Renaissance Drama, 1642-1660” Committee: Professors Jeremy Lopez (Chair), Holger Schott Syme, Marjorie Rubright Master of Letters, Shakespeare Studies University of St. Andrews 2011 MLitt thesis: “The Professionalization of Shakespeare Studies” Advisor: Professor Andrew Murphy Degree Conferred with Distinction Bachelor of Arts (Honours), Western Society and Culture Concordia University, Liberal Arts College (Montreal, Canada) 2008 Honours thesis: “Nabokov’s Critical Dodging” Advisor: Professor Ariela Freedman Degree Conferred with Great Distinction PUBLICATIONS “The King’s Servants in Printed Paratexts, 1594-1695,” in HLQ special issue “Perfor- mance and the Paper Stage, 1640-1695,” edited by Emma Depledge and Rachel Willie, Huntington Library Quarterly 85, no. 1 (Spring 2022)(Forthcoming). “‘Villanies of that damnd K´eeper’: Caregiving, Criminality, and Contagion in Early Modern England,” Early Modern Women: An Interdisciplinary Journal. Volume 16.1 (Fall 2021) (accepted). “Browse as Interface in Shakespeare’s Texts and The World Shakespeare Bibliography Online.” Co-authored with Laura Estill. In The Routledge Handbook of Shakespeare and Interface. Edited by Paul Budra and Cli↵ord Werier (submitted). “A Century of English Drama: Restoration Reprints of Tudor Drama” Reprints and Revivals of Early Modern Drama.
    [Show full text]
  • 1 November 2018 CURRICULUM VITAE
    1 November 2018 CURRICULUM VITAE HEATHER DUBROW Department of English Fordham University home address (for all correspondence): 115 East 87 Street #21F New York, NY 10128-1139 hdubrow@fordham.edu EDUCATION Harvard Graduate School of Arts and Sciences (July 1967-June 1972) Girton College, University of Cambridge (October 1966-June 1967) Radcliffe College (September 1962-June 1966) Hunter College High School (September 1956-June 1962) DEGREES Ph.D., Harvard University (November 1972) B.A., summa cum laude, Harvard University (June 1966) HONORS AND AWARDS National Merit Scholarship (1962-1966) Chosen as "a sophomore showing promise of scholarly achievement" by Radcliffe chapter of Phi Beta Kappa Election to Phi Beta Kappa Captain Jonathan Fay Award, given by Radcliffe College to the graduating senior "who in the judgment of the Deans has during her whole course, by her scholarship, conduct, and character given evidence of the greatest promise" Doris Russell Scholarship, awarded by Girton College, University of Cambridge (1966-1967) Fulbright Fellowship (1966-1967) Honorary Woodrow Wilson Fellowship (1967-1968) Harvard Graduate Prize Fellowship (1967-1972) Leverhulme Visiting Fellowship (1973-1974) Visiting Research Fellow, University of Sussex (summer term 1976) General Research Board Fellowship, University of Maryland (1977, 1979) Nominee for Student Award for Outstanding Teaching, University of Maryland (1979) Harvard University Mellon Faculty Fellowship (1979-1980) Honorary American Association of University Women Fellowship (1979-1980)
    [Show full text]
  • The Durability of Adaptation: Fate and Fortune in Romeo and Juliet Stephanie A
    Claremont Colleges Scholarship @ Claremont 2015 Claremont Colleges Library Undergraduate Claremont Colleges Library Undergraduate Research Award Research Award 5-6-2015 The Durability of Adaptation: Fate and Fortune in Romeo and Juliet Stephanie A. Steinbrecher Scripps College Recommended Citation Steinbrecher, Stephanie A., "The Durability of Adaptation: Fate and Fortune in Romeo and Juliet" (2015). 2015 Claremont Colleges Library Undergraduate Research Award. Paper 2. http://scholarship.claremont.edu/cclura_2015/2 This Junior Award Winner is brought to you for free and open access by the Claremont Colleges Library Undergraduate Research Award at Scholarship @ Claremont. It has been accepted for inclusion in 2015 Claremont Colleges Library Undergraduate Research Award by an authorized administrator of Scholarship @ Claremont. For more information, please contact scholarship@cuc.claremont.edu. 2015 Claremont Colleges Library Undergraduate Research Award Junior Award Winner Stephanie Steinbrecher Scripps College Reflective Essay Stephanie Steinbrecher Scripps College Claremont Colleges Library Undergraduate Research Award 30 March 2015 Reflective Essay In developing a research project for Professor Marissa Nicosia’s Elizabethan Shakespeare course, I focused on formulating an interpretive question that enabled me to utilize items from the Honnold-Mudd Library Special Collections. From my time as a special collections associate at Denison Library, I have experienced the importance of directly analyzing primary sources, particularly in terms of literature review; however, I did not have the chance to work with primary sources for any past courses. So when Professor Nicosia introduced the opportunity to construct a final project utilizing texts of Shakespeare’s works in Denison and Honnold-Mudd Special Collections, I elected to delve into a new kind of research that exceeded literary analysis drawn from scholastic materials and secondary sources.
    [Show full text]
  • George Washington University the Shakespeare Association of America, Inc
    George Washington University The Shakespeare Association of America, Inc. Slaves and Subjects in Othello Author(s): Camille Wells Slights Source: Shakespeare Quarterly, Vol. 48, No. 4 (Winter, 1997), pp. 377-390 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2871250 Accessed: 03-11-2015 15:28 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org. George Washington University, The Shakespeare Association of America, Inc., Johns Hopkins University Press and Folger Shakespeare Library are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org This content downloaded from 130.225.27.190 on Tue, 03 Nov 2015 15:28:27 UTC All use subject to JSTOR Terms and Conditions Slaves and Subjects in Othello CAMILLE WELLS SLIGHTS ... Shall I say to you, "Let thembe free. "? You will answer, "The slavesare ours."' IN THE LATE-SIXTEENTH AND SEVENTEENTH CENTURIES, England became increasinglyinvolved in the slave trade.During the same period,as numer- ous scholarshave argued,a new formof personal identitydeveloped. I want to suggestthat the representationof these phenomena on the earlymodern English stage shows that theyare interconnected.By attendingto these in- terconnections,we can learn a good deal not only about earlymodern sub- jectivitybut also about our own understandingsof libertyand coercion.
    [Show full text]