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Othello : the Tragedy of an Insufficient Love ; Robert Herrick's "Unified Vision"
OTHELLO: THE TRAGEDY OF AN INSUFFICIENT LOVE ROBERT HEHRICKtS "UNIFIED VISION" AND ITS PLACE IN EARLY SEVENTEENTH CENTURY POETRY PATRICK WHITE'S FOIJR PLAYS IN THE LIGHT OF HIS NOVELS: SOME STRUCTURAL PROBLEMS ERNEST ALBERT KEVIN ROBERTS B.A., University of Adelaide, 1962 TI-IREE PAPERS SUBMITTED IN PARTIAL F'ULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF MTS in the De~artment of English @ ERNEST ALBERT KEVIN ROBERTS 1968 SIMON FRASER TJN IVERSITY August, 1968 EXAMINING COMMITTEE APPROVAL Mr. J. Sandison Senior Supervisor Dr. R.E. Habenicht Examining Committee Nr. G. Newman Examining Committee Dr. E.J. Harden Examining Committee iii ABSTRACTS OTHELLO: THE TRAGEDY OF AN INSTJFFICIENT LOVE Othello is primarily a domestic tragedy in which Shakes- peare seems to be examining closely, and in mature terms, the complexities of physical and spiritual love. This paper attempts a reading of the play which reveals the inadequacy of the relationship between Othello and Desdemona. The play's structure, historical background, and a close examination of the text reveals that Othello~sdeception by Iago is made possible partly because of Othellols blindly altruistic conception of love in the form of an idealised Desdemona, but mainly because of his own feeling of physical insufficiency. This insufficiency is ironic in that Othello was probably thouaht of in Elizabethan times as a lusty Moor, yet there is some evidence to suggest that his physical relationship with Desdemona may have been deficient. Iagots dramatic function is that of a catalyst working on Othello 1s feelings of inadequacy. This unleashes the murderous sexual jealousy which eventually leads Othello to destroy Desdemona by "sat isfying" her in death. -
The Tragedy of Othello, the Moor of Venice
The Tragedy of Othello, The Moor of Venice. DRAMATIS PERSONAE Duke of Venice [i.e. the Doge] Brabantio, a senator Othello, a noble Moor in the service of the Venetian state Cassio, his lieutenant Iago, his ancient Roderigo, a Venetian gentleman Montano, Othello’s predecessor in the government of Cyprus Desdemona, daughter to Brabantio and wife to Othello Emilia, wife to lago Bianca, mistress to Cassio Written about 1603 Scene: Venice (I act), Cyprus (II, III, IV, V acts) Time: between 1489 (when Catherine Cornaro abdicated and Cyprus became a colony of the Republic of Venice) and 1571 (when Cyprus was conquered by the Ottomans). Most probably in the early 16th century. Sources: Giambattista Giraldi Cinthio (Cinzio)’s (1504-1573) novella “Un capitano moro”, in Hecatommithi (1565), translated into French in 1584, into English only in 1753. 1. ACT I, scene 1 A street in Venice. Night-time […] Rod. What, ho, Brabantio! Signior Brabantio, ho! lago. Awake! what, ho, Brabantio! thieves! thieves! thieves! Look to your house, your daughter and your bags! Thieves! thieves! Brabantio appears above, at a window. Bra. What is the reason of this terrible summons? What is the matter there? Rod. Signior, is all your family within? Iago. Are your doors lock'd? Bra. Why, wherefore ask you this? Iago. 'Zounds, sir, you're robb'd; for shame, put on your gown; Your heart is burst, you have lost half your soul; IP Even now, now, very now, an old black ram Is tupping your white ewe. Arise, arise; Awake the snorting citizens with the bell, Or else the devil will make a grandsire of you: Arise, I say. -
Othello and Its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy
Black Rams and Extravagant Strangers: Shakespeare’s Othello and its Rewritings, from Nineteenth-Century Burlesque to Post- Colonial Tragedy Catherine Ann Rosario Goldsmiths, University of London PhD thesis 1 Declaration I declare that the work presented in this thesis is my own. 2 Acknowledgements Firstly, I want to thank my supervisor John London for his immense generosity, as it is through countless discussions with him that I have been able to crystallise and evolve my ideas. I should also like to thank my family who, as ever, have been so supportive, and my parents, in particular, for engaging with my research, and Ebi for being Ebi. Talking things over with my friends, and getting feedback, has also been very helpful. My particular thanks go to Lucy Jenks, Jay Luxembourg, Carrie Byrne, Corin Depper, Andrew Bryant, Emma Pask, Tony Crowley and Gareth Krisman, and to Rob Lapsley whose brilliant Theory evening classes first inspired me to return to academia. Lastly, I should like to thank all the assistance that I have had from Goldsmiths Library, the British Library, Senate House Library, the Birmingham Shakespeare Collection at Birmingham Central Library, Shakespeare’s Birthplace Trust and the Shakespeare Centre Library and Archive. 3 Abstract The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. -
The Rings and Inner Moons of Uranus and Neptune: Recent Advances and Open Questions
Workshop on the Study of the Ice Giant Planets (2014) 2031.pdf THE RINGS AND INNER MOONS OF URANUS AND NEPTUNE: RECENT ADVANCES AND OPEN QUESTIONS. Mark R. Showalter1, 1SETI Institute (189 Bernardo Avenue, Mountain View, CA 94043, mshowal- [email protected]! ). The legacy of the Voyager mission still dominates patterns or “modes” seem to require ongoing perturba- our knowledge of the Uranus and Neptune ring-moon tions. It has long been hypothesized that numerous systems. That legacy includes the first clear images of small, unseen ring-moons are responsible, just as the nine narrow, dense Uranian rings and of the ring- Ophelia and Cordelia “shepherd” ring ε. However, arcs of Neptune. Voyager’s cameras also first revealed none of the missing moons were seen by Voyager, sug- eleven small, inner moons at Uranus and six at Nep- gesting that they must be quite small. Furthermore, the tune. The interplay between these rings and moons absence of moons in most of the gaps of Saturn’s rings, continues to raise fundamental dynamical questions; after a decade-long search by Cassini’s cameras, sug- each moon and each ring contributes a piece of the gests that confinement mechanisms other than shep- story of how these systems formed and evolved. herding might be viable. However, the details of these Nevertheless, Earth-based observations have pro- processes are unknown. vided and continue to provide invaluable new insights The outermost µ ring of Uranus shares its orbit into the behavior of these systems. Our most detailed with the tiny moon Mab. Keck and Hubble images knowledge of the rings’ geometry has come from spanning the visual and near-infrared reveal that this Earth-based stellar occultations; one fortuitous stellar ring is distinctly blue, unlike any other ring in the solar alignment revealed the moon Larissa well before Voy- system except one—Saturn’s E ring. -
Koel Chatterjee Phd Thesis
Bollywood Shakespeares from Gulzar to Bhardwaj: Adapting, Assimilating and Culturalizing the Bard Koel Chatterjee PhD Thesis 10 October, 2017 I, Koel Chatterjee, hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 10th October, 2017 Acknowledgements This thesis would not have been possible without the patience and guidance of my supervisor Dr Deana Rankin. Without her ability to keep me focused despite my never-ending projects and her continuous support during my many illnesses throughout these last five years, this thesis would still be a work in progress. I would also like to thank Dr. Ewan Fernie who inspired me to work on Shakespeare and Bollywood during my MA at Royal Holloway and Dr. Christie Carson who encouraged me to pursue a PhD after six years of being away from academia, as well as Poonam Trivedi, whose work on Filmi Shakespeares inspired my research. I thank Dr. Varsha Panjwani for mentoring me through the last three years, for the words of encouragement and support every time I doubted myself, and for the stimulating discussions that helped shape this thesis. Last but not the least, I thank my family: my grandfather Dr Somesh Chandra Bhattacharya, who made it possible for me to follow my dreams; my mother Manasi Chatterjee, who taught me to work harder when the going got tough; my sister, Payel Chatterjee, for forcing me to watch countless terrible Bollywood films; and my father, Bidyut Behari Chatterjee, whose impromptu recitations of Shakespeare to underline a thought or an emotion have led me inevitably to becoming a Shakespeare scholar. -
An Examination of Gender Conflicts Within Othello
Providence College DigitalCommons@Providence Phillips Memorial Library Undergraduate Craft of Research Prize Phillips Memorial Library 5-1-2015 Men, Women and War: An Examination of Gender Conflicts within Othello Hao You Providence College Follow this and additional works at: https://digitalcommons.providence.edu/research_prize Part of the English Language and Literature Commons, Feminist, Gender, and Sexuality Studies Commons, and the Gender and Sexuality Commons You, Hao, "Men, Women and War: An Examination of Gender Conflicts within Othello" (2015). Phillips Memorial Library Undergraduate Craft of Research Prize. 5. https://digitalcommons.providence.edu/research_prize/5 This Article is brought to you for free and open access by the Phillips Memorial Library at DigitalCommons@Providence. It has been accepted for inclusion in Phillips Memorial Library Undergraduate Craft of Research Prize by an authorized administrator of DigitalCommons@Providence. For more information, please contact [email protected]. You 1 2015 The Phillips Memorial Library Undergraduate Craft of Research Prize Submission Men, Women and War: An Examination of Gender Conflicts within Othello Hao You Class of 2017 [email protected] Page 2 – 9, Original Paper Assignment Page 10 – 11, Research Methodology Page 12 – 14, Annotated Bibliography You 2 Hao You Dr. Robert Reeder ENG 175 Introduction to Literature Paper #3, 1 May 2015 Men, Women and War: An Examination of Gender Conflicts within Othello “If you wanna be happy for the rest of your life, never make a pretty woman your wife.” – Jimmy Soul, "If You Wanna Be Happy" In his The First Blast of the Trumpet against the Monstrous Regiment of Women, John Knox asserted emphatically that “it doth manifestlie repugne that any woman shal reigne or beare dominion ouer man … that woman in her greatest perfection was made to serue and obey man, not to rule and command him” (pp.15). -
Othello, a Tragedy Act 1: Palace
Othello, A Tragedy Act 1: Palace Set - The Duke's Court Iago and Roderigo have started a rumor that Othello won over Desdemona through witchcraft. Before the Duke of Venice, Othello explains that he won Desdemona through his stories of adventure and war. Desdemona confirms this, and insists that she loves Othello. Act 2: Street Set - A Drunkard's Bar Iago gets Cassio drunk and convinces him to start a fight with a rival officer, Roderigo. Cassio accidentally wounds the Governor, and Othello is summoned. Iago tells Othello that it was Cassio that started the fight, and Othello strips Cassio of his title. Iago then tells Cassio that he should attempt to win over Othello through Desdemona. Act 3: Palace Set - Royal Chambers Cassio appeals to Desdemona to help him earn Othello's forgiveness. He leaves before Othello returns, however, and Iago uses this to convince Othello that Desdemona has betrayed him with Cassio. Desedemona makes things worse by attempting to convince Othello to forgive Cassio. Iago steals Desdemona's handkerchief and plants it on Cassio. Act 4: Palace Set - Private Chambers Othello growing suspicious of Desdemona, asks Iago for evidence. Iago suggests that he has seen Cassio with Desdemona's handkerchief. Othello asks Desdemona for her handkerchief, which she confesses that she has lost, and attempts to change the subject by pleading Cassio's case. Act 5: Palace Set - Private Chambers Othello confronts Desdemona, but does not believe her story. He kills her. After her death, he realizes what has happened and confronts Iago. They duel and both are wounded. -
Weighing Uranus' Moon Cressida with the Η Ring
The Astronomical Journal, 154:153 (8pp), 2017 October https://doi.org/10.3847/1538-3881/aa880e © 2017. The American Astronomical Society. All rights reserved. Weighing Uranus’ Moon Cressida with the η Ring Robert O. Chancia1 , Matthew M. Hedman1 , and Richard G. French2 1 Department of Physics, University of Idaho, Moscow, ID 83844-0903, USA; [email protected] 2 Astronomy Department, Wellesley College, Wellesley, MA 02481, USA Received 2017 June 19; revised 2017 August 9; accepted 2017 August 21; published 2017 September 20 Abstract The η ring is one of the narrow rings of Uranus, consisting of a dense core that is 1–2 km wide and a diffuse outer sheet spanning about 40 km. Its dense core lies just exterior to the 3:2 Inner Lindblad Resonance of the small moon Cressida. We fit the η ring radius residuals and longitudes from a complete set of both ground-based and Voyager stellar and radio occultations of the Uranian rings spanning 1977–2002. We find variations in the radial position of the η ring that are likely generated by this resonance, and take the form of a 3-lobed structure rotating at an angular rate equal to the mean motion of the moon Cressida. The amplitude of these radial oscillations is 0.667±0.113 km, which is consistent with the expected shape due to the perturbations from Cressida. The magnitude of these variations provides the first measurement of the mass and density of the moon Cressida (m =´()2.5 0.4 1017 kg and r =0.86 0.16 gcm−3) or, indeed, any of Uranus’ small inner moons. -
Book Chapter
Book Chapter Lamentable Tragedy or Black Comedy? Friedrich Dürrenmatt's Adaptation of Titus Andronicus ERNE, Lukas Christian Abstract Studies Friedrich Dürrenmatt's "comedic" adaptation of Titus Andronicus and its "unmasking" of the dangerous "ideology of patriotism and fatherland". Reference ERNE, Lukas Christian. Lamentable Tragedy or Black Comedy? Friedrich Dürrenmatt's Adaptation of Titus Andronicus. In: Massai, Sonia. World-Wide Shakespeares: Local Appropriations in Film and Performance. London : Routledge, 2005. p. 88-94 Available at: http://archive-ouverte.unige.ch/unige:14614 Disclaimer: layout of this document may differ from the published version. 1 / 1 Friedrich Diirrenmatt's Titus Andronicus 89 According to most modern editions, Shakespeare divides his play into fourteen scenes 11 Lamentable tragedy or black which Durrenmatt reduces to nine.' Six of Shakespeare's scenes, 1.1, 4.2 to 4.4, 5.1 and 5.2, have corresponding scenes in Durrenmatt (Scenes 1 and 5 to 9). Two disappear comedy?: Friedrich Diirrenmatt's entirely, 3.2 (the so-called Tly-scene' which was first printed in the Folio of 1623) and adaptation of Titus Andronicus 5.1, dramatizing Aaron's defiance after his arrest. Durrenmatt condenses the six remaining scenes into two: 2.1 to 2.4 becomes a continuous sequence in Durrenmatt (Scene 2) in the course of which Chiron and Demetrius murder Bassianus and rape and Lukas Erne mutilate Lavinia. And 3.1 and 4.1 are reduced to one scene (Scene 3) in which Titus, hoping in vain to save his sons Quintus and Martius, is tricked into cutting off his own hand, and ends with Lavinia revealing the identity of her ravishers. -
Shakespeare's Use of the Christian Dimension in Four Major Tragedies
SHAKESPEARE'S USE OF THE CHRISTIAN DIMENSION IN FOUR MAJOR TRAGEDIES, AND ITS DRAMATIC EFFECT ON EARLY AUDIENCES by Janet Mary Cockin A thesis submitted to The University of Birmingham for the degree of MASTER OF PHILOSOPHY The Shakespeare Institute Stratford upon Avon University of Birmingham April 2003. University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. SUMMARY. Christian values permeated all aspects of human activity in sixteenth century England; the basic truths of Christianity were largely unquestioned, and these would underlie the views on life and death, whether consciously formulated or not, of most of those who made up Shakespeare's first audiences. I explore the ways in which Shakespeare responded to, and significantly departed from, his sources in four major tragedies with Christian (or non-pagan) backgrounds: Romeo and Juliet, Hamlet, Othello andMacbeth. In the first chapter, I discuss the prevailing religious tensions in England as Shakespeare was growing up, and the theological instruction he is likely to have received. I examine the interaction of these theological ideas with the cultural exploration of ideas taking place in the English Renaissance. -
1 Shakespeare and Film
Shakespeare and Film: A Bibliographic Index (from Film to Book) Jordi Sala-Lleal University of Girona [email protected] Research into film adaptation has increased very considerably over recent decades, a development that coincides with postmodern interest in cultural cross-overs, artistic hybrids or heterogeneous discourses about our world. Film adaptation of Shakespearian drama is at the forefront of this research: there are numerous general works and partial studies on the cinema that have grown out of the works of William Shakespeare. Many of these are very valuable and of great interest and, in effect, form a body of work that is hybrid and heterogeneous. It seems important, therefore, to be able to consult a detailed and extensive bibliography in this field, and this is the contribution that we offer here. This work aims to be of help to all researchers into Shakespearian film by providing a useful tool for ordering and clarifying the field. It is in the form of an index that relates the bibliographic items with the films of the Shakespearian corpus, going from the film to each of the citations and works that study it. Researchers in this field should find this of particular use since they will be able to see immediately where to find information on every one of the films relating to Shakespeare. Though this is the most important aspect, this work can be of use in other ways since it includes an ordered list of the most important contributions to research on the subject, and a second, extensive, list of films related to Shakespeare in order of their links to the various works of the canon. -
By: Maddie S. It Takes 84 Earth Years for It to Complete One Orbit
Uranus By: Maddie S. It takes 84 earth years for it to complete one orbit. It's radius is 400.1 miles. At its closest it orbits Uranus appeared to be 1.7 billion miles away. At its only a blue-green ball with farthest it orbits 1.9 billion miles a smooth surface. away. Uranus is too far away to see easily without a telescope. Uranus is the seventh planet Sometimes it is just bright from the sun. It orbits farther enough to see with the naked out, along Uranus's outer eye. ring. Uranus' high powered telescope at the Keck Observatory in Hawaii creates detailed images of Uranus. Each of Uranus' hemispheres receives 42 earth years of sunlight. Uranus' rings are a mix of large chunks of matter and fine particles of dust. One spacecraft has managed to visit Uranus but it took a little creativity to get it there. The rings orbiting Uranus are thinner than those orbiting other planets. Uranus has ten moons. Ariel is Uranus's brightest moon. The moons names are Juliet, Puck Cordelia, Ophelia, Bianca, Desdemona, Portia, Rosalind, Cressida, and Belinda. Umbriel is the darkest moon on Uranus. Uranus Uranus is so far away that for about 200 years scientists could not make out how quickly it turns on its axis. Most planets turn on their axis in such a way that they are almost upright as they move about the sun. It is the only planet with an axis tipped that way, so some think of it as a sideways planet. Like most planets, Uranus has its own natural satellites, or moons.