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Challenging Hegemonic Patriarchy

A Feminist Reading of Arab Shakespeare Appropriations

Safi M. Mahfouz

, Cleopatra in Antony and Cleopatra , Portia in The Merchant of Venice , Lady Macbeth in Macbeth , Beatrice in Much Ado About Nothing , Juliet in Romeo and Juliet , Desdemona in Othello , Viola in Twelfth Night and Hermia in A Midsummer Night's Dream

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Creative Critical Shakespeares

Rob Conkie and Scott Maisano

the subheading of which is A Critical Anthology of Plays from the Seventeenth Century to the Present (emphasis added), and both of which offer trenchant creative critiques of Othello and its afterlives, adaptations here offer similar ripostes to

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Scott Maisano

Athens in A Midsummer Night’s Dream . Another Venetian duke appears in Othello , where his role is limited to Act One. The present Duke of Ravenna, by contrast, appears only in Act Five. In another late Elizabethan comedy, Blurt, Master Constable

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Katherine Hennessey and Margaret Litvin

at international festivals or from Arab and international travelling companies. Moreover, some productions have regional rather than local or global significance. (An example is the Othello -Antar hybrid analysed in this issue, an Omani play

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The Taming of the Tigress

Faṭima Rushdī and the First Performance of Shrew in Arabic

David C. Moberly

into Arabic. 4 Yet despite this popularity, the recent flurry of scholarship on Shakespeare in Arabic has looked mainly at tragedies such as Hamlet and Othello , 5 replicating many Arab critics’ high-nationalist and masculinist focus on tragedy

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Shakespeare and the Jews

Lily Kahn

translation. The 1870s saw the first Hebrew translations of complete plays with Isaac Salkinson’s ground-breaking versions of Othello and Romeo and Juliet , 2 which paved the way for the eventual emergence of a more extensive body of Hebrew translations in

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Nahrain al-Mousawi

Hanna’s Bourdieu in Translation Studies: The Socio-Cultural Dynamics of Shakespeare Translation in Egypt analyses the history of Arabic translations of the Shakespeare tragedies Macbeth, Hamlet, King Lear and Othello as products of sociocultural

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Joseph Khoury

spectre of the Turk’ (212) encapsulates his reading of the Bard, but this is an indulgence rather than a reasoned argument. Brotton declares that both Henry V and Othello were ‘tempted to turn Turk’ (293), and that Iago ‘also turns Turk’, by insisting that

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Shylock and the Nazis

Continuation or Reinvention?

Alessandra Bassey

Kritikensammlung, Theaterwissenschaftliche Sammlung der Universität Köln, Schloss Wahn, in Andrew G. Bonnell, ‘Shylock and Othello under the Nazis’, German Life and Letters , no. 63 (2010), 166-178, . 5 Siegfried

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Wrestling with Shylock

Contemporary British Jewish Theatre and Shakespeare’s The Merchant of Venice

Jeanette R. Malkin and Eckart Voigts

writes, a play he has no wish to stage because (unlike Othello) Shylock represents fundamental Otherness in Venice: It’s interesting that the same Venice that ascribes everything that’s bad about Shylock to his Jewishness, that spits out the word Jew