Search

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Cahiers Elisabethains: A Biannual Journal of English Renaissance Studies is the property of Sage Publications Inc. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

William Shakespeare is one of the world's greatest writers. His plays have been translated into every major living language. In some languages, his plays have been retranslated many times. These translations and retranslations have evolved for about 250 years. Studying variations in translations of world cultural heritage texts is of cross-cultural interest for arts and humanities researchers. The variations between retranslations are due to numerous factors, including the differing purposes of translations, genetic relations, cultural and intercultural influences, rivalry between translators and their varying competence. A team of Digital Humanities researchers has collected an experimental corpus of 55 different German retranslations of Shakespeare's play, Othello. The retranslations date between 1766 and 2010. A sub-corpus of 32 retranslations has been prepared as a digital parallel corpus. We would like to develop methods of exploring patterns in variation between different translations. In this article, we develop an interactive focus + context visualization system to present, analyse and explore variation at the level of user-defined segments. From our visualization, we are able to obtain an overview of the relationships of similarity between parallel segments in different versions. We can uncover clusters and outliers at various scales, and a linked focus view allows us to further explore the textual details behind these findings. The domain experts who are studying this topic evaluate our visualizations, and we report their feedback. Our system helps them better understand the relationships between different German retranslations of Othello and derive some insight. [ABSTRACT FROM AUTHOR]

In recent times, researchers across a variety of disciplines in the humanities and social sciences have been interested in the human ability to process embedded mindstates, also known as ‘multiple-order intentionality’ (MOI): A believes that B thinks that C intends (etc.). This task is considered increasingly cognitively demanding with every order of embedding added. However, we argue that the way in which the information relevant to the task is represented in language (in particular, using a narrative) greatly influences how well people are able to deal with MOI cognitively. This effect can be illustrated by paraphrasing situations presented by a play such as Shakespeare’s Othello: by the end of Act II the audience has to understand that Iago intends that Cassio believes that Desdemona intends that Othello believes that Cassio did not intend to disturb the peace. Formulated this way, using sentence embedding to express the intentional relationships, this is highly opaque. At the same time, we know that Othello has been understood and appreciated by innumerable different audiences for ages. What is it that the play’s text does to make the audience understand all these embedded mindstates without undue cognitive strain? In this article we discuss six ‘expository strategies’ relevant to the representation of MOI and illustrate their working with examples from Shakespeare’s Othello. [ABSTRACT FROM AUTHOR]

The article reviews the theatrical production "Othello" directed by Marion McClinton, performed at the Guthrie Theater in Minneapolis, Minnesota on March 16, 2014, and the theatrical production "Hamlet" directed by Ian Belknap, performed at the Guthrie Theater on April 29, 2014.

The article discusses Shakespeare Festival held in Stratford, Ontario in 2013 which featured theatre performances of English poet and playwright William Shakespeare's plays including "Measure for Measure" directed by Martha Henry, "Romeo and Juliet" by Tim Carroll and "Othello" by Chris Abraham.

A criticism of the play "Othello" by William Shakespeare is offered. The author shows how interpretations of particular words or phrases can elucidate the meaning of the text. Differing interpretations are offered for various passages. These include a passage concerning the Othello character's feelings for his wife Desdemona and one about the Iago character's references to sunlight and growth as a way of illuminating the rivalry between Cassio and Roderigo. In another passage it shows the pairing of the words "exsufflicate" and "blown" as consistent with a pattern in Shakespeare, and in the Book of Common Prayer, of pairing obscure Latin-origin words with simpler words of Anglo-Saxon origin.

The purpose of this paper is to contribute to the literature on leadership, emotions and organizations by examining Shakespeare's Othello. While much of the existing literature focuses exclusively on the external dimensions of leadership, this paper adds a new dimension by focusing as well on the internal workings of the mind of the leader, here that of Othello. This focus is made possible by postulating that the subordinate Iago — whose relationship to Othello is central to the plot — represents an inner character within Othello's mind, as well as an external character. As an inner character, Iago fills Othello's mind with powerful feelings of jealousy and envy, especially about an alleged relationship between Othello's wife and his lieutenant, Cassio. Othello's conundrum thus concerns whether he should tolerate these feelings and live with his uncertainty about his wife's purported infidelity, or, alternatively, try to rid himself of these feelings by killing her and Cassio. Concepts from psychoanalysis and a variety of other traditions are drawn on. Following this, there is an exploration of a contemporary reference, that of the demise of the Gucci family dynasty. The paper ends with an examination of the implications and a conclusion. [ABSTRACT FROM AUTHOR]

The article reviews the theatrical production "Othello" translated by Norman Chaurette and directed by Léonie Simaga, performed at Théâtre du Vieux-Colombier in Paris, France on April 25, 2014.

Presents a guide to teaching the opera `Othello' to a music class. Biography of the composer Giuseppe Verdi; Elements of opera; Voice types; Drama through music; Composer and librettist; Plot and characters.

The article reviews William Shakespeare's play "Othello" directed by Jack Nieborg and starring Inge Wijers as Desdemona and Malcolm Davis as Othello performed at the Shakespeare Theater Diever in Diever, the Netherlands on August 21, 2013.

The article introduces the Chicago Shakespeare Theater (CST), site of the plays reviewed in the issue. Reviews include "Othello," "The Comedy of Errors," and "King John." Also discussed is the type of production offered by the theater. Called by critic Sir Peter Hall the best place in the world for Shakespearean productions, the theater is housed in an architecturally significant space with views of the city's skyline and Lake Michigan. In its building and in its productions, the theater is said to emphasize accessibility. While this is deemed a virtue, the article points out that it also means the productions are engaging but not challenging. The article notes that CST has an international reputation and has the possibility to develop artistically into a more exciting theater.

The article discusses the Naples joke in act III scene 1 of the play "Othello" by William Shakespeare. It notes interpretations of the joke suggesting references to venereal disease and Neapolitan accents. The author suggests that the joke is actually a pun which plays on the words "Naples" and "nose," depending on the auditory references to "Nay" and "No."