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The article discusses the portrayal and representation of racism in early modern England in William Shakespeare's play "Othello". Topics include the inscription of racial identity onto Othello by the inhabitants of Venice, a City in Italy; the mode of disgust plays a central role in how Othello is perceived by others in the play; and the connection between race and emotion in Early Modern English Literature.

This article discusses the perception of race among Middle Eastern readers, especially Saudi students, who are studying English literature, with focus on Shakespeare's Othello , to demonstrate the complexity of perceiving race among Saudi readers by linking it to the concept of 'colour-blindness'. The article highlights the importance of acknowledging one's own identity in relation to teaching and reading literature, since interpreting the text is based on the position the reader holds in relation to the narrative in front of him/her, and the apprehension of the cultural context of the text. Shakespeare's Othello is a work that poses an interesting challenge to Saudi students since they do not realise the linguistic cues used by Shakespeare to denote the racial inequality the protagonist of the play is facing. Such phenomenon is explored in the article as an example of colour-blindness as their initial reading of the text did not count for Othello's position in the play as a 'person of colour'. The concept of decolonization is explored through how, after focusing on the element of race, Saudi students became acutely aware of their position as a reader of an English literary text that is part of a different culture than theirs. [ABSTRACT FROM AUTHOR]

The article discusses the possible musical source for Iago's song "Let Me the Cannikin Clink" in the play "Othello" by William Shakespeare. It mentions the role of the drinking songs of Iago as dramatic insights into the plot of the play. It explains the reason behind the possibility that the lutebook "Matthew Holmes MS Dd9.33" is the source for the song. Also cited is the importance of the tendency of the playwright to modify extant melodies to understanding the sources of his songs.

The article presents a literary criticism of the play "Othello" by William Shakespeare. It focuses on Othello's emotional breakdown and its excruciating climax. It highlights Othello's choice of poison as a murder weapon and Iago's rejection of it in creating an overarching ironic metaphor. It also argues that Iago's cunning and pragmatic reason for rejecting poison, was not to kill Desdemona but to spare her. An overview of the play is also given.

A literary criticism for the book "Othello" by William Shakespeare, is presented. Topics include Human behavior falling within the purview of probability the material cause of understanding in psychological category; and formulation of probability to Aristotelian causality, to the ontology of ancient rhetoric, and to the persuasive, performative 'rhetorical self' inculcated by early modern humanism with post-Reformation England, Protestants and Roman Catholics.

The article focuses on phrase Wooluish tongue in Folio of 1623 which is unresolved crux and mentions analogous crux in play "Othello" by playwright William Shakespeare. Topics discussed include passages cited in the Oxford English Dictionary (OED) which do not appear in edition of author William Caxton, play "Coriolanus" written by Shakespeare and information on Roman history by Shakespeare.

A literary analysis of the play "Othello" by William Shakespeare is presented. It focuses on a monologue delivered by the character Iago describing the character Cassio, noting the influence of Italian philosopher Niccolo Machiavelli.

A literary analysis of the play "Othello" by William Shakespeare is presented. It focuses on the Folio interpretation of a line containing the word "ingeniuer."

The article focuses on rejection of fictional character Iago of his role as servant in the play "Othello" by playwright William Shakespeare and mentions short speeches that are fundamental to self-definition of Iago. Topics discussed include Old Testament reference to the divine name, character Peter linked by reference to maid who keeps the gate and reference to Peter in Othello.

This essay situates two wife-murder plays, Shakespeare's Othello and Calderón's El médico de su honra, in a transnational cultural context of anxieties about adultery, cuckoldry and female sexuality, all of which are both affective and legal. Neither Shakespeare's Desdemona nor Calderón's Mencía has committed adultery, but in these plays that does not matter. Mere suggestion is enough to convince husbands of their wives' guilt and, fuelled by a dangerous combination of rhetoric and passion, suspicion all too easily becomes proof. Quintilian's idea of vividness, or enargeia, is central to this process, and this essay considers enargeia's role in creating belief in early modern drama, its legal afterlife in a nineteenth-century adultery case, and its role in the modern courtroom. [ABSTRACT FROM AUTHOR]

The article explores the themes of courtship and jealousy in the play "Othello" by William Shakespeare. Emphasis is given to the different implications for the jealousy of the character of Othello resulting from the use of different pronouns in the text. Other topics include the relationship between characters Cassio and Desdemona, infidelity, and intermediaries in literature.

An early modern play-title may not be authorial and may be one of several given to the same piece. This essay takes the play usually known simply as 'Othello' as a case-study by collecting and examining records of the play in performance and print, before the closing of the theatres, during the interregnum and in the quarter-century following the resumption of playing in 1660. For almost all of these seventy-five years, the use of the character Othello's name to title the play is predominantly a print phenomenon or a usage by writers encountering the play in print. Performance records begin in Shakespeare's lifetime, antedating printed forms. They consistently record a different title, emphasizing the character's race and location. The disparity between print and performance titles invites a reconsideration of seventeenth-century records of performance and audience experience of the play, offering Pepys's experience of the play as a sample. [ABSTRACT FROM AUTHOR]

The article discusses race in early modern Shakespearean studies. Topics discussed include the political relevance of William Shakespeare's "Othello," William Shakespeare's "Othello," views related to Shakespeare's "Hamlet Prince of Denmark," and racial conflicts in the U.S. as of January 2016. Also mentioned is Shakespeare's methaphor of race as war.

The author demonstrates that there's a characteristic of regimes of racial intolerance in William Shakespeare's "Othello." Topics discussed include the misconception that racialism is unambiguous, the treatment of former U.S. Secretary of State Colin Powell when it comes to racism, and racial prejudice. Also mentioned is how the election of Barack Obama as U.S. President showed improvement in the race relations of the U.S.

The article presents a study of the theatrical play "Othello" by playwright William Shakespeare. Topics discussed include the author's assessment of the conflict between civil authorities and the military in the opening acts of the play and the government system adopted by the city of Venice, Italy in the sixteenth century as presented by scholar Gasparo Contarini.

The article discusses the discovery of an allusion to the play "Othello," written by English playwright William Shakespeare, found in a poem written in 1603 by an unknown poet, called "Saint Marie Magdalens Conversion." Topics discussed include the categorizing of the poem as a devotional poem, the prologue to the poem, and the ways in which the anonymous author feels that Shakespeare's works are secular, but still masterpieces.

A consideration of the differences between Shakespearean comedy and tragedy in light of the historically particular inflection of dramatic irony in the English Reformation. The essay compares classical and humanist understandings of literary response and then proposes that we consider that response as a function of knowledge with respect to (and hence feelings about) a protagonist and his plight. The essay compares the structures of suspense in Sophocles’ and Seneca’s Oedipus plays, and then goes on to examine the ways in which two early modern versions of Seneca’s play demonstrate different manners of crafting an audience’s affective relation based on epistemological advantage. The author argues that the peculiarities of these repsonses, and their difference from Shakespeare’s handling of dramatic irony, can be illuminated by the English response to Calvin’s understanding of predestination as a matter of being known about. The analysis concludes with examples from Much Ado About Nothing and Othello that demonstrate the different affective charge of privileged information. [ABSTRACT FROM PUBLISHER]

The author explores the mind reading ability of Iago in William Shakespeare's "Othello," which he uses to access and cruelly manipulate another's mental world. He sees the cognitively overloaded Iago as being also the victim of other imaginations, with his ability not a talent as much as the unavoidable cause of his seemingly motiveless evil. The author notes that Iago's case reflects the cognitive style of literary criticism, and is more understandable from the perspective of masochism.

The article presents a response to writer Ian Smith's arguments on an aspect of English dramatist William Shakespeare's piece "Othello." The point was first subjected to a systematic critique by Historiographer Royal, Thomas Rymer, who was assumed the post in 1692, and thereafter mounted an attack against playwrights of the previous age for their allegedly barbarous neglect of tragic decorum and reserved particular scorn for "Othello."

An essay is presented exploring the adaptation of two William Shakespeare plays in contemporary Latin American films. It discusses the interpretation, setting and narration in "Sangrador," a Venezuelan version of the play "Macbeth," and "Huapango," a Mexican version of the play "Othello." The author used locational and typological details of the films as reference in making an aesthetic evaluation. Venezuelan and Mexican religious practices and beliefs are said to be incorporated in the films.

The article discusses tragedy and how it works. In the play "Othello," the character of Desdemona died, which the author classified as tragedy. The author refers to tragedy as a tragic response in a fiction. In watching a play, people react in ways in which they want the tragedy not to occur. The change-of-content solution provides that it is the people's desire to avoid the tragic event in the play.

The article discusses the criticisms of Christopher Pye on William Shakespeare's play, "Othello." It presents several linked terms that create complex textuality in the play, including the concept of the aesthetic, the political, orality and writings, speech against gestures, and self-begotten jealousy. It also explores the theories of Walter Benjamin and Theodor Adorno. It also cites the two broad categories of the critics of the play, namely, the "Iago critics" and the "Emilia critics" as coined by Carol Thomas Neely.

The article discusses the arguments of Christopher Pye concerning the aesthetic ideology of William Shakespeare's play "Othello." Pye presented "Othello" as a subjective modernity norm and not from the ethnic-racial viewpoint. It also cites the arguments of Catherine Winiarski and Jane Hwang Degenhardt concerning "Othello." It also presents the political-theological dimensions of the play as compared to another Shakespeare play, "Hamlet."

The article discusses the relationships between the political entailments and the aesthetic status of William Shakespeare's play "Othello." It also investigates the play's ideological contents, including the aspect of the relationship between race and universalism. It also cites the opinions of Joel Fineman on the play, of which the modern literary identity called heterosexual identity is coined. It compares the play "Othello" to the play "Titus Andronicus."

The article presents information about the Spanish mercenary Pedro Negro. It discusses Negro's racial identity and its relevance to the play "Othello" by William Shakespeare. The legacy of Negro as a black man who achieved social power is examined and information about his service in the army of King Henry VIII is provided.

An essay is presented which examines two versions of Act 4, scene 3 of the play "Othello," written by William Shakespeare. It notes that the scene as it appears in the 1622 quarto and in the 1623 First Folio do not contain the same number of lines and are thematically different. The author examines theatrical practices that suggest each version represents a separate production of the play. The scene is described in detail, specifically the actions of Emilia as she prepares Desdemona for bed.

The article comments on the ecocritical perspective of the place of gender and race in the play "Othello," by William Shakespeare. Gender and place, of course, is central to postcolonial and ecocritical readings, and representations of masculinity and femininity in "Othello" can be fruitfully read by combining these two perspectives. The complexities of gender are interdependent on the physical processes of the urban and human-made cityscape of Venice, and create rhetorics of war and conquest as Venetians constantly battle the sea, pestilence, and disease. As their world is literally contaminated with the tides, their culture is pervaded with other forms of contamination, such as corrupted visions of masculinity.

Presents a bibliography of scholarship and criticism on William Shakespeare's play "Othello." "Othello," edited by John Crowther; "Noh Adaptation of Shakespeare," by Kuniyoshi Ueda; "Sources and Cruces," by J. J. M. Tobin; "Midwiving Subjects in Shakespeare's England," by Caroline Bicks; "Honesty' in Shakespeare," by Steve Cassal.

Looks into the character of Iago in the play "Othello" in relation to the early modern discourses of anality and purgation. Capacity of the play to shock and disturb audiences; Attraction of Iago to verbal figures of purgation, evacuation and oral/anal substitution and displacement; Nature of the sexual anxiety Othello evokes in Iago.

Presents several periodicals reviewing "Othello," by William Shakespeare. "Italian Stories on the Stage," by Louise George Clubb; "Shakespeare and Santiago de Compostela," by Grace Tiffany; "The Texts of Othello and Shakespearian Revision," by E. A. J. Honigmann.

Presents a listing of book related to the teaching of poet and dramatist William Shakespeare in the English literature. "Shakespeare Yearbook 13," by Mireia Aragay and Pilar Zozaya; "More Lessons Plans for Substitute Teachers," by Shirley Blaisdell; "Othello," by Shirley Blaisdell.

The frequency with which dramatist William Shakespeare returned to writer Thomas Nashe's play "Christ's Tears Over Jerusalem" during the composition of his major tragedies for, at least, vivid imagery and witty phrasing, suggests that Shakespeare's play "Othello," too, should show signs of Nashean incorporation, especially given the fact that the other Cinthio-derived play written shortly after, "Measure for Measure," shows evidence of just such borrowing. There are indeed expressions in "Christ's Tears" which are paralleled by words and phrases in Othello."

Presents several reference sources of the play 'Othello' written by William Shakespeare. 'Law and Literature and Shakespeare: Explorations,' by George Anastaplo; 'Rewriting Race Through Literature: Teaching Shakespeare's African Plays,' by James R. Andreas; 'Why Literature Matters: Permanence and the Politics of Reputation,' by Glenn C. Arbery.

Focuses on the foul-paper hypothesis of 1622 quarto of `Othello,' by William Shakespeare. Focus of the hypothesis on the stage directions of paragraph 360 of `The Shakespeare First Folio; Conversion of textual problems to the most economical line of transmission as logic of the New Bibliography; Suggestions for the textual studies of `Othello'.

Explains the representation of race in the 16th century as reflected by the Moorish central character in William Shakespeare's drama, `Othello.' Challenges to the syntax of racial identity by the play's other characters; Approaches in ethnographic representations by Shakespeare's English contemporaries; Symbols and meanings of the Moor's systematic blackening in the play.

The article focuses on the influence of Michel de Montaigne's "Essays" on William Shakespeare's literary works. It states that Shakespeare's play "The Tempest" was adapted from the essay "Of the Cannibals," which extols the society's condition among the American Indians. It also mentions that some passages of Montaigne's essays were reflected on some of Shakespeare's work including the plays "Othello" and "Measure for Measure."

A literary criticism of the play "Othello" is presented. It outlines the characters and their symbolic significance including Othello, Desdemona and Iago. It states that shame overtook the image of these characters rather than jealousy. It mentions that the story of shame within the play is a strong hint of Christian penitence, with intimations of atonement and redemption.

Discusses the date of William Shakespeare's `Othello' in relation to the first quarto of `Hamlet'. Veracity of American critic Alfred Hart's claim that the first quarto of `Hamlet' incorporated words and phrases from `Othello'; Shakespeare's knowledge on the background used in `Othello'.

Presents a bibliography of the drama, `Othello,' by English playwright and poet William Shakespeare.

Focuses on the concepts of barbarianism and race in early modern England, with reference to the drama `Othello,' by William Shakespeare. Link between mental stability and rhetorical mastery; Importance of language and rhetorical eloquence; Relationship between Europeans and blacks; How did white people in the sixteenth century perceive black persons; In-depth look at rhetorical eloquence in sixteenth century England.

Presents information on the conversion of the drama `Othello,' and its relevance to Ottoman Turks. Reference made to the English Protestant texts which deals with the Pope, the Ottoman sultan and Satan; Details on Virginia Mason Vaughan's historical study of Othello.

Looks at the fact that most great tragedies do not start with the leading character as illustrated in the play `Othello,' by William Shakespeare. Role played by Iago in the play; Influence of race in the play.

Discusses the putative size and the odd circumstances of the appearance and removal of Desdemona's handkerchief in William Shakespeare's play `Othello.' Object's modest and anonymous appearance as a `napkin'; Symbolic meanings of the handkerchief; Close work between Othello and Desdemona to lose the handkerchief and to disremember its loss.

Relates experiences in teaching Elizabeth Cary's `The Tragedy of Mariam' and Shakespeare's `Othello' in a special-topics course in University of Alabama at Birmingham. Preference of scholars to rewriting the literary canon of early modern literature; Course objectives; Description of students; Range of students' knowledge on Renaissance literature.

Presents an approach for the performance of Shakespeare plays termed as `The Outsider in Shakespeare' designed for students deficient in acting experience. Challenges presented by approach; Example of the play `Othello' for definition of norms; Role of the play's historical background; Exercise titled `The Playing Game' for theatrical performance.

Presents specific parallels between Act 2 of William Shakespeare's `Othello' and Ovid's `Tristia' and `The Metamorphoses.' Ovid and Othello's reference to a storm; Motifs of lovers' separation, of sea-voyage and storm.

Presents information on the book `Othello,' with emphasis on its authorship, while indicating that it exists in two versions the first quarto (Q) published in 1622 and the Folio (F) of 1623. What the Q and F versions of the book represents; Categorization of `Othello' with the books `Hamlet' and `King Lear'; Comparison of the F version of the book to the Q version.

Focuses on religion and difference in Arrigo Boito's adaptation of Shakespeare's Othello. Contrary interpretation of the play; Use of the metaphor of religion to map the differences between sexes; Construction of Desdemona's feminine nature.

Criticizes the behavior of Othello, the lead character of the play "Othello", towards his wife Desdemona Failure of Othello to consumate his marriage; Result of the frustrated desire of Othello towards his wife; Reason of Othello for murdering his wife.

This article focuses on the play "Othello." Nevertheless it is a powerful play and if it is an "odd one out" it needs to be accounted for. Far from being an outsider of some kind, Othello is, in fact, a very central play, locking together some crucial Shakespearian themes and preoccupations. Trust is the key word here, for trust in others involves ratification of what one believes oneself to be and betrayal of trust is perhaps the most sensitive nerve in the body of dramatist William Shakespeare's works. Hamlet finds the world he had believed in, founded on faith in the loving relationship of an admirable mother and father, was a deception which covered the potentiality of murder and lust.