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Thomas Coryat meets a Venetian courtesan. William Charles Macready as Othello Figure 4: Orson Welles as Othello. This includes an overview of the critical history of the work, including extracts from important critical debates of recent decades, and a selection of key passages from the text itself.
These handy books provide almost everything most students will need for the contextual and critical overview of literature expected in schools and universities today.
In some cases this includes materials relating to performances or adaptations. Annotation is a key feature of this series. Both the original notes from the reprinted texts and new annotations by the editor appear at the bottom of the relevant page. Routledge Literary Sourcebooks offer the ideal introduction to single literary works, combining primary and secondary materials, chosen by experts, in accessible form.
Duncan Wu Acknowledgements I would like to thank the following for permission to reprint copyright material: Blackwell,pp.
A Contextual History Cambridge: Cambridge University Press,pp. Harvard University Presspp. Extract from The Common Pursuit by F. Leavis, published by Hogarth Press pp.
Routledge, pp. The Text in History and Ideology London: Routledge,pp. University of Delaware Press,pp. University of Delaware Press, pp. Every effort has been made to trace and contact copyright holders.
The publishers would be pleased to hear from any copyright holders not acknowledged here, so that this acknowledgements page may be amended at the earliest opportunity. My thanks to Michael Neill for reading an earlier version of the text and generously sharing his formidable knowledge of the play with me, and to David Scott Karstan and Joy Hayton for answering some queries.
My special thanks, as always, to Alison, Lucy, Patrick and Maud. The plot of the play is directly centred on questions of gender, sexuality, race and status, all key issues for us today. There has also been a huge amount of critical analysis of the play.
This is a neat reversal of the assumption that, in the interests of historical accuracy because there were no black actors in Elizabethan England, the role had to be played by a white actor blacked up.
However, Othello clearly troubled and stimulated audiences in different ways in different places. Othello was rarely performed in South Africa before the overthrow of apartheid, because it raised the explosive issue of race and so made the authorities nervous of the consequences.
Shakespeare has been seen as a man of his times, articulating the received ideas of his fellow countrymen in dismissing people of colour as savages. It is likely that the issues of race and colour will dominate the ways in which productions of Othello are staged and the ways in which readers will respond to the play for the foreseeable future.
Othello deals with one of the central scandals of Western thought and culture, the marriage of a black man and a white woman, and the fear of miscegenation — the production of children of mixed race who do not know where they belong.
English writers often assumed, explicitly or implicitly, that God had made them in his own image — i. University of Chicago Press,pp. Hall, Things of Darkness: Cornell University Press, There is, of course, no easy answer to any of the questions I have posed, and it is likely that readers will continue their arguments without ever resolving all of their differences.
I hope that anyone who reads this Sourcebook will feel that they are in a better position to argue whatever case they wish to make. The book consists of three main sections. There is an introduction to each section, and a headnote prefaces each extract.
While guiding and helping the reader, the text is also designed to help readers to think independently, make their own connections and develop their own ideas. There is a collection of contemporary documents: There are some extracts from early criticism of the play from the end of the seventeenth century to the start of the twentieth century, followed by a substantial range of modern criticism dealing with questions of race and identity, gender issues, tragic form, style, language and historical context.
There is also an annotated guide to further reading, providing information on editions and critical works.Aug 20, · Shakespeare Plays Ranked. With a ‘conceit’ that would set feminism back centuries were it to happen now, our ‘heroine’ Helena swaps places with the local wench, so that she can trick her idol Bertram into sleeping with her instead and getting her pregnant!
Part 2 is the complete counterpoint to Part 1.
Where Part 1. Othello takes place in Venice, the famous Italian city, and Cyprus, an island in the Mediterranean Sea colonized by the Venetians at the time. The play is set during the early modern period. This essay considers the materialist basis of the Gaia hypothesis, comparing it to ways of thinking about the world that were available to Shakespeare’s audiences and in.
Othello - A feminist Shakespeare and a drama about a handkerchief - Magister Artium (M.A.) Silvia Alpers - Hausarbeit (Hauptseminar) - Anglistik - Literatur - Publizieren Sie Ihre Hausarbeiten, Referate, Essays, Bachelorarbeit oder Masterarbeit. feminist readings of shakespeare's othello Feminist critics have been analysing how women and society are represented in Shakespeare's plays for several decades, and most of them have come to the conclusion that their portrayal is far from modern feminist ideals.
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