All present gave a shout [in praise of her beauty], while the malicious and ill-natured cried aloud, ‘What a pity that one so beautiful and fair should be wedded to one so black!’ 1 Shakespeare opts not to stage the wedding of Othello and Desdemona
Aḥmad al-Izkī’s Fusion of Shakespeare and Classical Arab Epic
A Photographic Essay
In October 2013 I directed an ‘original-ish practices’ staged reading of Othello . What follows is a photographic documentation of that event with occasional annotations. What did ‘original practices’ mean in this context (La Trobe University
The Appropriation of Shakespeare in Fadia Faqir’s Willow Trees Don’t Weep
Hussein A. Alhawamdeh
This article traces William Shakespeare’s echo in Willow Trees Don’t Weep (2014) by Fadia Faqir, a Jordanian/British novelist, to examine the function of Faqir’s appropriation of Shakespeare’s Othello (1604) and Cymbeline (1611) in creating
Reading into Othello’s Indian/Iudean Crux in the First Hebrew Translation
The 1870s mark the first translations of complete Shakespeare plays into Hebrew: Ithiel ha-Kushi mi-Vineẓya (Othello , 1874) and Ram ve-Yaʿel (Romeo and Juliet , 1878). These translations, by the Jewish convert to Christianity Isaac Edward
Lefebvre describes how ‘space is lived not represented (or conceived)’ in the context of his spatial triad of perceived, conceived and lived spaces. This article focuses on the extent to which Shakespeare can enable those who feel imprisoned (whether literally or through social, mental, physical or economic constraints) to expand the space in which they exist. Drawing on the work of Lefebvre and Foucault in their consideration of spatial creation, manipulation and alteration by the social experiences within it, I develop on these theories to focus specifically on the use of Shakespeare’s plays to evolve these, often constraining, spaces into somewhere that gives the participants the freedom and space to explore alternatives to their previous experiences of life. This article considers the impact of using Shakespeare as a method of creating space for a group of men in Leicester Prison as part of their 2017 Talent Unlocked Arts Festival.
Hebrew Literature and Christian Mission
); 6 the first book of John Milton’s Paradise Lost (1862); 7 Paradise Lost (full, 1870); 8 Shakespeare’s Othello (1874); 9 Christoph August Tiedge’s Urania (1876); 10 and Romeo and Juliet (1878). 11 From 1877, Salkinson was preparing a
Bianca at Large
This article explores how Shakespeare transforms his early picture of female virtue embodied by Bianca Minola – safely stowed in her chambers in The Taming of the Shrew – into the freedom we find in Othello's Bianca, who is an emblem of the larger world; her movements aligned with integrity, the ability to reason, and mastery of her body. I investigate how Bianca's 'nomadic' status guarantees her safety and speech, and also locate her agency and mobility alongside the movements of female characters like Moll Cutpurse, Isabella Whitney's dejected maidservant, and Spenser's Britomart – all guardians of a world to which they only peripherally belong.
Are Juliet, Desdemona and Cordelia to their Fathers as Nature is to Culture?
Gordana Galić Kakkonen and Ana Penjak
This article brings ecofeminist critical thinking to William Shakespeare's female characters: Juliet in Romeo and Juliet, Desdemona in Othello, and Cordelia in King Lear. Beginning with the principal that women and nature are similar in many ways (reproductive function, discrimination, subordination, possession, violence), ecofeminism focuses on the interaction between the two. Ecofeminism grounds its beliefs in the fact that patriarchal domination gets imposed through different binary oppositions including man-woman and culture-nature categories. By applying ecofeminism's positions, the authors will provide a critical thinking of the production of socially imposed inequalities seen through Juliet, Desdemona, and Cordelia. Since out of many different publications on the topic of ecofeminism none has provided such an approach, the authors believe that the article presents an important addition to the literature on both Shakespeare and ecofeminism.
A Postcolonial Study of the Appropriation of Arabic/Islamic Allusions and Matters in the Bard’s Oeuvre
Mahmoud F. Al-Shetawi
This article attempts to document and examine the corpus of Arabic and Islamic allusions and references in Shakespeare’s drama and poetry in line with postcolonial discourse and theory. The works of Shakespeare incorporate a large body of Arabic/Islamic matters, which the Bard has gleaned from different sources, such as travel literature, narratives of pilgrims, history annals and common tales of the Crusaders. However, these matters are sporadic in Shakespeare’s works, woven into the fabric of various plays and poems. For example, Shakespeare has thematically used a set of allusions and references to the Arab world such as Arabian trees, the Prophet Mohammed, the Turk, Aleppo, Jerusalem, and many others. Shakespeare has also presented three Oriental characters in his plays: the Prince of Morocco, Shylock and Othello, each with distinctive ethnic and personal traits. A scrutiny of Arabic and Islamic matters in the works of Shakespeare from postcolonial critical perspectives reveals that Shakespeare has a vague idea about Arabs and the Orient at large. Therefore, Shakespeare represents the Orient as the other; his Orient is rather exotic and bizarre, posing as an impending menace to Europe.
Edited by Graham Holderness and Bryan Loughrey
commerce (see, e.g., The Comedy of Errors, The Merchant of Venice, Coriolanus, Othello…) . It should therefore come as no surprise that economic themes and motifs rank high among the pressing cultural concerns to which Shakespeare gave shape in his works