Death of Shakespeare’s brother Edmund, an actor with the King’s Men

Hunter, G.K. "Othello and Colour Prejudice." Proceedings of the British Academy 53 (1967); rpt. Dramatic Identities and Cultural Tradition: Studies in Shakespeare and his Contemporaries. Liverpool: Liverpool UP, 1978, 31-59.

At the start of Shakespeare’s play ‘Othello’, ..

Iago in Shakespeare's play

The Talent of Iago in Shakespeares Othello

Theobald, Lewis, ed. Othello. The Works of Shakespeare. Vol. 7. London: A. Bettesworth and C. Hitch, et al. 1733; rpt. New York: AMS, 1968.

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---. The Comic Matrix of Shakespeare's Tragedies:Romeo and Juliet,Hamlet,Othello, andKing Lear. Princeton: Princeton UP, 1979.

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Bristol, Michael. "Charivari and the Comedy of Abjection in Othello." Renaissance Drama 21 (1990); rpt. Materialist Shakespeare: A History. Ed. Ivo Kamps. London: Verso, 1995; New Casebooks: Othello. Ed. Lena Cowen Orlin. Basingstoke: Palgrave Macmillan, 2004, 78-102.

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Bradley, in his book of literary criticism, Shakespearean Tragedy, describes the theme of sexual jealousy in Othello: But jealousy, and especially sexual jealousy, brings with it a sense of shame and humiliation....

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Cavell, Stanley. "Othello and the Stake of the Other." Disowning Knowledge in Seven Plays by Shakespeare. 2nd ed. Cambridge: Cambridge UP, 2003.

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Ideas of the contrast between men and women run throughout ‘Othello’ by William Shakespeare and analysing the two leading female characters will enable us to understand this to a greater extent.

Free Othello Women Essays and Papers - 123HelpMe

Pope, Alexander, ed. Othello. In The Works of Mr. William Shakespeare. Vol. 6. London: Jacob Tonson, 1723-1725; rpt. New York: AMS, 1969.

Is Iago the real hero in Shakespeares Othello

Because Iago wants revenge on Othello for giving Cassio Iago's position. Iago uses manipulation to get Othello to agree with him on the subject of Desdemona cheating. Iago uses proof such as Cassio talking in his sleep saying "sweet Desdemona,let us be wary, let us hide our loves", which is add's to the logos/pathos logic emotional appeal of Iago's plan. Iago plans ahead and gets a hold of the "magical" handkerchief and plants it on Cassio. He then leaves Othello with the evidence that Desdemona doesn't have it on her anymore. Othello is officially in Iago's manipulation pool of jealousy.

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---. "'Why Should we Call Her Whore?' Bianca in Othello." Shakespeare and the Twentieth Century: The Selected Proceedings of the International Shakespeare Association World Congress, Los Angeles, 1996. Ed. Jonathan Bate, Jill L. Levenson, and Dieter Mehl. Cranbury, NJ: Associated UPs, 1998.