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Journal articles on the topic 'Desdemona'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Rai, Ram Prasad. "Jealousy and Destruction in William Shakespear's Othello." Crossing the Border: International Journal of Interdisciplinary Studies 4, no. 1 (October 17, 2017): 53–58. http://dx.doi.org/10.3126/ctbijis.v4i1.18430.

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Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior officer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is possible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously makes Desdemona’s handkerchief, a marriage gift from Othello, reach in Cassio through Emilia. Then he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. They are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior officer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself after he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other. Crossing the Border: International Journal of Interdisciplinary Studies Vol.4(1) 2016: 53-58

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2

Hahn, Robert. "Desdemona Revived." Yale Review 92, no. 1 (June 28, 2008): 104. http://dx.doi.org/10.1111/j.0044-0124.2004.00783.x.

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3

Walen, Denise A. "Unpinning Desdemona." Shakespeare Quarterly 58, no. 4 (2007): 487–508. http://dx.doi.org/10.1353/shq.2007.0058.

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4

Tsukamoto, Tomoka, and Ted Motohashi. "Deconstructing the Saussurean System of Signification." Critical Survey 33, no. 1 (March 1, 2021): 23–47. http://dx.doi.org/10.3167/cs.2021.330103.

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Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi Satoshi’s adaptation and staging of Miyagi-Noh Othello, presented at Shizuoka Arts Theatre in 2018, was a remarkable attempt to address this issue, by transforming the whole play into a memory recollected and enacted by the Ghost of Desdemona, through utilising the Japanese ‘Mugen-Noh’ format. Through his mimetic dramaturgy employing the ‘division of speech and movement’ method, Miyagi succeeded in recovering not only Desdemona’s testimonies regarding her affectionate and passionate relationship with Othello but also multiple women’s ‘her-stories’ hidden and disregarded by male-centred histories authorised by the Venetian ruling class. The detailed analysis of Miyagi’s unique and innovative production will unravel the complicated relationship between actors’ words and their bodies in theatrical productions, as well as offer a fresh insight into the hitherto underrated aspect of Othello as an alternative story of inducing everyone’s suffering into spiritual atonement by reviving the love which has always already been present even in a society torn by racism, genderism and militarism.

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5

Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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6

Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (June 30, 2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.

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7

Mezghani, Miriam. "A Conceptual Metaphor Account of Desdemona: Body, Emotions, Ethics." English Language and Literature Studies 11, no. 2 (April 19, 2021): 20. http://dx.doi.org/10.5539/ells.v11n2p20.

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This paper aims to delve into Desdemona’s mind in Shakespeare’s Othello. In this paper, Desdemona’s utterances are perused through conceptual metaphor analysis. The objective of this study is to disclose Desdemona’s cognitive complexity, and conceptual metaphor analysis offers an opportunity to enter Desdemona’s cognitive world notwithstanding the degradation of her speech. These conceptual metaphors will follow three major axes of scrutiny: body, emotions, and ethics. The findings of this paper demonstrate that a cognitive exploration of the character reveals a structured system of thoughts where corporeal passions, emotional acuity, and ethical choices are culminated in a coherent and dynamic female protagonist. Desdemona’s conceptual metaphors confirm a sensual and wilful persona who broke an ascetic image of femininity associated with conditioning and interdictions. The study aspires to demonstrate how Desdemona would become a haunting presence on stage, triumphant even as all other characters fell, and how she would reach from beyond the grave to hold the audience in the throes of empathy. The intent of the paper is also to point out that conceptual metaphor analysis, with its ties to cognitive poetics, can furnish character criticism with dissimilar readings.

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8

Brokaw, Katherine Steele. "Desdemona (review)." Shakespeare Bulletin 30, no. 3 (2012): 361–65. http://dx.doi.org/10.1353/shb.2012.0055.

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9

Porter, Laurin. "Shakespeare's "Sisters": Desdemona, Juliet, and Constance Ledbelly inGoodnight Desdemona (Good Morning Juliet)." Modern Drama 38, no. 3 (September 1995): 362–77. http://dx.doi.org/10.3138/md.38.3.362.

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10

Peterson, William. "Consuming the Asian Other in Singapore: Interculturalism in TheatreWorks' Desdemona." Theatre Research International 28, no. 1 (February 17, 2003): 79–95. http://dx.doi.org/10.1017/s0307883303000166.

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The Singaporean company TheatreWorks, under the artistic direction of Ong Keng Sen, has been responsible for the creation of a number of large-scale Asian intercultural works that have toured to international festivals from Adelaide to Hamburg. Among the best known of these are Lear and Desdemona, both of which use Shakespeare as a point of departure for new performance pieces that bring together practitioners representing a wide range of traditional and contemporary art forms. Unlike other intercultural experiments, in Lear and Desdemona practitioners stay largely within the frame of their own performance and linguistic traditions, creating a work which, especially in the case of Desdemona, is far from seamless. Using the 2000 production of Desdemona as an object of inquiry, this model of Asian intercultural production is examined against the backdrop of the politics of one's location, the troubled audience response to the work in Singapore and Adelaide, and the current state of intercultural theory.

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11

Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (May 1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.

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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disrupting the ideological codes embedded in the inherited structures of dramatic representation’. In a deconstructive parody, Vogel dislodges the convention of the intimate scene between women in Shakespeare's theatre and expands it into an entire play. Decentering the tragic hero, she foregrounds and enacts the threat of female desire that incites the tragic action, and disrupts the familiar categories of virgin, whore, and faithful handmaiden by forging links with gender ideology and class status. The author, Sharon Friedman, is an Associate Professor in the Gallatin School of New York University, and the author of several articles on American women dramatists, including Susan Glaspell and Lorraine Hansberry.

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12

Ridge, Kelsey. "‘You don’t have the right to hit anyone’: Domestic violence in Othello and Omkara." Indian Theatre Journal 5, no. 1 (August 1, 2021): 103–13. http://dx.doi.org/10.1386/itj_00019_1.

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Alongside the infamous jealousy of Shakespeare’s Othello lies the domestic violence that brings the play to its dark conclusion. Vishal Bhardwaj’s 2006 Bollywood adaptation, Omkara, involves the same issues. The domestic violence, however, is present in different forms. It is a prominent part of Desdemona’s plot arc and an important element of Emilia’s backstory. Dolly’s experience mirrors that of Desdemona. However, Indu’s relationship with Langda is quite different from Emilia’s relationship with Iago. These alterations lead Indu and Langda, though not Dolly and Omkara, to different outcomes from their Shakespearean counterparts. This article contrasts the depiction of domestic violence in Othello and Omkara and examines what is gained through the change in the appropriation.

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13

Raina, Arjun. "Desdemona moksham: A Shakespearean murder revisited." Indian Theatre Journal 5, no. 1 (August 1, 2021): 87–102. http://dx.doi.org/10.1386/itj_00018_1.

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This article examines two performances, Othello in Kathakali and The Magic Hour, concentrating the analysis around two different choices made around a single action: the killing of Desdemona. While Desdemona is killed in the Kathakali Othello, in The Magic Hour this does not occur. The argument in this article differs from a critique that suggests Othello in Kathakali, created by Sadanam Balakrishnan and performed by the International Center for Kathakali in New Delhi, fails to nuance the inherent misogyny in the original Shakespearean text while improvising on its own conventions. A sustained counter argument is presented, which suggests that the design of the performance has enough new elements, fresh codes and reinvented conventions to address the political/racial theme of the story, and that any misogyny inherently lies not in the creator’s intentions, but rather in the Shakespearean text itself. The Magic Hour, on the other hand, negotiates the misogyny in the Shakespearean text more directly and, by choosing not to kill Desdemona, transforms the murder sequence into a scene of liberation, of moksham.

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14

Huq, Syed Anwarul. "Desdemonas Handkerchief: Its Symbolic Significance." Stamford Journal of English 7 (April 6, 2013): 159–68. http://dx.doi.org/10.3329/sje.v7i0.14471.

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15

Ibrahim Ismael, Zaid. "Edgar Allan Poe’s Desdemona: The Untold Story." International Journal of Literary Humanities 18, no. 2 (2020): 27–32. http://dx.doi.org/10.18848/2327-7912/cgp/v18i02/27-32.

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16

Evans, Robert C. "Oliver Parker's Filmed Othello: Desdemona and Design." Ben Jonson Journal 24, no. 2 (November 2017): 268–84. http://dx.doi.org/10.3366/bjj.2017.0197.

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This essay examines the 1995 filmed version of Shakespeare's Othello, directed by Oliver Parker and starring Laurence Fishburne. For the first time in a big-budget movie, Othello was played by a black man – an astonishing fact when one considers that this development did not occur until almost the very end of the twentieth century. This essay briefly surveys the often highly divergent responses the film received. It concludes by defending various aspects of the film, including its tightly knit structure and also the performance by Irène Jacob as Desdemona. Because Jacob's presence in the film was often severely criticized, it seems worthwhile, in attempting to defend the film in general, to examine several scenes prominently featuring her contributions to the production.

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17

Grehan, Helena. "Theatre Works' Desdemona: Fusing Technology and Tradition." TDR/The Drama Review 45, no. 3 (September 2001): 113–25. http://dx.doi.org/10.1162/10542040152587141.

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“Interculturalism” needs to be expanded and redefined to include the responses of spectators as well as the work of artists. In what ways does Theatre Works' Desdemona, as seen at the 2000 Adelaide Festival, represent a “new wave of Asian production”? Or are such works disturbing evidence of the increasing erosion of the local?

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18

Valente Pais, A. R., M. Wentink, M. M. van Paassen, and M. Mulder. "Comparison of Three Motion Cueing Algorithms for Curve Driving in an Urban Environment." Presence: Teleoperators and Virtual Environments 18, no. 3 (June 1, 2009): 200–221. http://dx.doi.org/10.1162/pres.18.3.200.

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Research on new automotive systems currently relies on car driving simulators, as they are a cheaper, faster, and safer alternative to tests on real tracks. However, there is increasing concern about the motion cues provided in the simulator and their influence on the validity of these studies. Especially for curve driving, providing large sustained acceleration is difficult in the limited motion space of simulators. Recently built simulators, such as Desdemona, offer a large motion space showing great potential as automotive simulators. The goal of this research is: first, to develop a motion drive algorithm for urban curve driving in the Desdemona simulator; and second, to evaluate the solution through a simulator driving experiment. The developed algorithm, the one-to-one yaw algorithm, is compared to a classical washout algorithm (adapted to the Desdemona motion space) and a control condition where only road rumble is provided. Results show that regarding lateral motion, the absence of cues in the rumble condition is preferred over the presence of false cues in the classical algorithm. “No motion” seems to be favored over “bad motion.” In terms of longitudinal motion, the one-to-one yaw and the classical algorithm are voted better than the rumble condition, showing that the addition of motion cues is beneficial to the simulation of braking. In a general way, the one-to-one yaw algorithm is classified better than the other two algorithms.

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19

Bento, Carlos. "O gênero atuante: a performance de gênero em The passion of new Eve and Goodnight Desdemona (good morning Juliet)." Em Tese 12 (December 31, 2008): 32. http://dx.doi.org/10.17851/1982-0739.12.0.32-37.

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Este texto usa a performance de gênero, teoria desenvolvida por Judith Butler, para ler algumas partes dos livros The passion of new Eve, escrito pela inglesa Angela Carter, e Goodnight Desdemona (Good morning Juliet), da canadense Ann-Marie MacDonald.

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20

Hopkins, Justin B. "The Comedy of Errors dir. by Desdemona Chiang." Shakespeare Bulletin 37, no. 4 (2019): 572–75. http://dx.doi.org/10.1353/shb.2019.0064.

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21

Bles, Willem, and Eric Groen. "The DESDEMONA Motion Facility: Applications for Space Research." Microgravity Science and Technology 21, no. 4 (June 12, 2009): 281–86. http://dx.doi.org/10.1007/s12217-009-9120-1.

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22

ASSING, VOLKER. "A revision of Calodera Mannerheim. III. A new species from Russia and a key to the Palaearctic species of the genus (Coleoptera: Staphylinidae: Aleocharinae)." Zootaxa 311, no. 1 (September 26, 2003): 1. http://dx.doi.org/10.11646/zootaxa.311.1.1.

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Calodera lunata sp. n. (Russia: Komi Republic) is described, illustrated, and distinguished from the Eastern Palaearctic C. zerchei Assing, 2003 and C. desdemona Sharp, 1888. Calodera hebeiensis Pace, 1999 is transferred to Parocyusa Bernhauer. A key to the Palaearctic species of Calodera is provided.

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23

Gigliucci, Roberto. "What Iago Knew." English Language and Literature Studies 8, no. 1 (February 8, 2018): 45. http://dx.doi.org/10.5539/ells.v8n1p45.

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This paper defines Iago as a master of time. He knows the future, or, even better put, he is able to foresee it quite brilliantly. Such an ability is typical of a Melancholy character, which, as known, can be a veritable villain. Iago instinctively knows that Desdemona will come to grow weary of the Blackamoor, and he detects her attraction to the young, handsome, and white Cassio. As head and meta-theatrical director, Iago sets out to compress time, and so exert pressure on the other characters. As a result, what would normally take place over a longer stretch of time, becomes quickly contracted in the space of a play. Moreover, considering how the ‘future’ is brought forward, the present appears more ambivalent. From Iago’s point of view, is Desdemona a potential or an inevitable adulteress? To think the worst is, for the villain, to think realistically. Seeing time as following the rules of trivial consistency and verisimilitude (rendering the future predictable), makes it perfectly natural for Iago to consider Desdemona as an unfaithful woman, and Cassio, a coxcomb who plays around with other men’s wives. Furthermore, the Moor is Black, and despite his “fairness”, he will soon become a bad Negro again. Time will prove me right, Iago meditates. Thus, he zips time to triumph further and faster. The last section of the essay is dedicated to the occurrences of the word time in the play, with specific commentaries under the shadow of the secular exegesis, and in line with the critical assumptions made. Finally, in the discussion, the darker side of Iago is also explored, with careful assessment of the extensive bibliography on the subject.

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24

Blomster, Wes, and Christine Brückner. "Wenn du geredet hättest, Desdemona: Ungehaltene Reden, ungehaltener Frauen." World Literature Today 59, no. 1 (1985): 81. http://dx.doi.org/10.2307/40140616.

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25

Lan, Yong Li. "Ong Keng Sen's Desdemona, Ugliness, and the Intercultural Performative." Theatre Journal 56, no. 2 (2004): 251–73. http://dx.doi.org/10.1353/tj.2004.0065.

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26

Assing, Volker. "A revision of Calodera Mannerheim. II. A new species, new synonyms, and additional records (Coleoptera: Staphylinidae: Aleocharinae)." Beiträge zur Entomologie = Contributions to Entomology 53, no. 1 (July 31, 2003): 217–30. http://dx.doi.org/10.21248/contrib.entomol.53.1.217-230.

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Eine Untersuchung von Material, das seit dem ersten Teil der Revision verfügbar wurde, ergab weitere Nachweise von Calodera-Arten. C. zerchei sp. n., die erste Art aus dem Fernen Osten Russlands, wird beschrieben und von der nur aus Japan bekannten C. desdemona Sharp unterschieden. Zwei Synonymien werden begründet: Calodera Mannerheim, 1830 = Ityocara Thomson, 1867, syn. n.; Calodera aethiops (Gravenhorst, 1802) = Aleochara (Calodera) perspicua Gistel, 1857, syn. n. Calodera rubens Erichson, die Typusart von Ityocara, wird wieder Calodera zugeordnet. Die Sexualmerkmale von Calodera rubens, C. desdemona und C. zerchei werden abgebildet. 17 Calodera-Arten sind aus der Holarktis bekannt, davon 11 aus der Westpaläarktis, 3 aus der Ostpaläarktis und 3 aus der Nearktis. Die Tatsache, dass alle bisher untersuchten, aus Regionen außerhalb der Holarktis beschriebenen Calodera-Arten nicht in diese Gattung gehören, deutet darauf hin, dass Calodera holarktisch verbreitet ist.StichwörterColeoptera, Staphylinidae, Aleocharinae, Oxypodini, Calodera, Palaearctic region, taxonomy, new species, new synonyms, new combination, new records.Nomenklatorische Handlungenperspicua Gistel, 1857 (Aleochara (Calodera)), syn. n. of Calodera aethiops (Gravenhorst, 1802)zerchei Assing, 2003 (Calodera), spec. n.

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27

Rapetti, Valentina. "‘I was your slave’: Revisioning kinship in Toni Morrison and Rokia Traoré’s Desdemona." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 237–57. http://dx.doi.org/10.1386/jafp_00030_1.

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This article offers a critical reading of Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel laureate Toni Morrison and music and lyrics by Malian singer-songwriter Rokia Traoré. By drawing on early modern race studies and Marshall Sahlin’s notion of ‘mutuality of being’, the article discusses Morrison’s lyrical prose as well as Traoré’s songs and performance to show how they merge and amplify one another in Sellars’ meditative staging to jointly rearticulate early modern notions of race, kinship and family embedded in Othello. By questioning what lies dormant, unseen and unheard in the Shakespearean tragedy, Desdemona supplements it with what Imtiaz Habib has termed ‘imprints of the invisible’ and invites its readers and audiences to ponder the onset of European colonialism, the slave trade, colour-based racism and their global aftermath, positing theatre as a metaphor for other civic, shared spaces where honest conversations about race, gender and class inequalities can open up a path to healing and reconciliation.

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28

Awad, Yousef, and Mahmoud F. Al-Shetawi. "Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello." International Journal of Applied Linguistics and English Literature 6, no. 5 (July 6, 2017): 173. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.173.

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This paper examines how Arab British novelist Jamal Mahjoub appropriates and interpolates Shakespeare’s Othello. Specifically, this paper argues that Mahjoub’s historical novel The Carrier (1998) re-writes Shakespeare’s Othello in a way that enables the novelist to comment on some of the themes that remain unexplored in Shakespeare’s masterpiece. Mahjoub appropriates tropes, motifs and episodes from Shakespeare’s play which include places like Cyprus and Aleppo, Othello’s identity, abusive/foul language, animalistic imagery, and motifs like the eye, sorcery/witchcraft, the storm and adventurous travels. Unlike Othello’s fabled and mythical travels and adventures, Mahjoub renders Rashid al-Kenzy’s as realistic and true to life in a way that highlights his vulnerability. In addition, the ill-fated marriage between Othello and Desdemona is adapted in Mahjoub’s novel in the form of a Platonic love that is founded on a scientific dialogue between Rashid al-Kenzy and Sigrid Heinesen, a poet and philosopher woman from Jutland. In this way, Desdemona’s claim that she sees Othello’s visage in his mind, a claim that is strongly undermined by Othello’s irrationality, jealousy and belief in superstitions during the course of the play, is emphasized and foregrounded in Mahjoub’s novel.

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29

Hays, Michael L. "Who Wooed Desdemona?: The Crux at Othello, III, III, 94*." Notes and Queries 64, no. 2 (May 18, 2017): 284–87. http://dx.doi.org/10.1093/notesj/gjx029.

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30

Edward Kahn. "Desdemona and the Role of Women in the Antebellum North." Theatre Journal 60, no. 2 (2008): 235–55. http://dx.doi.org/10.1353/tj.0.0002.

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31

Rapetti, Valentina. "Staging Desdemona in African time: A conversation with Peter Sellars." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 319–36. http://dx.doi.org/10.1386/jafp_00034_7.

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For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine radical imagery, technical virtuosity, structural rigour, intellectual depth, social critique and moral intent. In this interview, he shares details about his collaboration with African American writer Toni Morrison and Malian musician Rokia Traoré in the creation of Desdemona (2012), a cross-cultural adaptation of William Shakespeare’s Othello, talking about theatre as ritual, directorial choices, acting as channelling and intertextuality.

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32

Rapetti, Valentina. "Channelling the dead: A conversation on Desdemona with Tina Benko." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 305–18. http://dx.doi.org/10.1386/jafp_00033_7.

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Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconciliation as she experienced it while working in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, and music and lyrics by Malian singer-songwriter Rokia Traoré.

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33

Perletti, Greta. "“A THING LIKE DEATH”: MEDICAL REPRESENTATIONS OF FEMALE BODIES IN SHAKESPEARE’S PLAYS." Gender Studies 12, no. 1 (December 1, 2013): 93–111. http://dx.doi.org/10.2478/genst-2013-0006.

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Abstract While the hysterical ailments of women in Shakespeare’s works have often been read from psychoanalytical standpoints, early modern medicine may provide new insights into the ‘frozen’, seemingly dead bodies of some of his heroines, such as Desdemona, Thaisa, and Hermione. In the wake of recent critical work (Peterson, Slights, Pettigrew), this paper will shed fresh light on the ‘excess’ of female physiology and on Shakespeare’s creative redeployment of some medical concepts and narratives.

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34

Bartels, Emily C. "Strategies of Submission: Desdemona, the Duchess, and the Assertion of Desire." Studies in English Literature, 1500-1900 36, no. 2 (1996): 417. http://dx.doi.org/10.2307/450956.

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35

Ayed, Wajih. "Unbinding Genre (Bending Gender): Parody in Goodnight Desdemona (Good Morning Juliet)." Arab World English Journal For Translation and Literary Studies 1, no. 4 (October 15, 2017): 25–38. http://dx.doi.org/10.24093/awejtls/vol1no4.2.

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36

Alhiyari, Ibrahim. "Female Struggle and Triumph: The Cases of Antigone, Desdemona, and Erminia." Arab World English Journal For Translation and Literary Studies 3, no. 1 (February 15, 2019): 35–52. http://dx.doi.org/10.24093/awejtls/vol3no1.3.

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Alhawamdeh, Hussein A. "She is no Desdemona: a Syrian woman in Samar Attar’s Shakespearean subversions." Middle Eastern Literatures 21, no. 2-3 (September 2, 2018): 154–70. http://dx.doi.org/10.1080/1475262x.2019.1573544.

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Rapetti, Valentina. "Singing back to the Bard: A conversation on Desdemona with Rokia Traoré." Journal of Adaptation in Film & Performance 13, no. 3 (December 1, 2020): 337–44. http://dx.doi.org/10.1386/jafp_00035_7.

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Abstract:

Rokia Traoré is a Malian singer, guitarist and composer, known worldwide for her artistic syncretism and political activism. Her distinctive style blends elements of traditional Malian music with blues, folk and rock to address contemporary geopolitical and humanitarian issues. She is the artistic director of Fondation Passerelle, a non-profit organization she founded in 2006 to support young African singers and musicians by offering them high-quality professional training and work opportunities in the music industry. In this interview, she discusses her experience as songwriter and performer in Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American director Peter Sellars, with texts by African American Nobel Laureate Toni Morrison, sharing some intimate memories and elaborating freely on the role of performers and the importance of focused listening in live stage productions.

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Jara, J. M., J. Tavares, L. Paixão, and P. Carriço. "Life’s But a Walking Shadow." European Psychiatry 24, S1 (January 2009): 1. http://dx.doi.org/10.1016/s0924-9338(09)71215-5.

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The approach to mental states made in literature even before the sistematization of psichopathology, contributes to the comprehension of mental illness by giving it an almost universal and timeless perspective.Hamlet walked the stage wearing several masks which succeeded themselfs.Throught the presentation of a psychiatric story we would like to go through some of the masks present in Shakespear's work. From Othello to Juliet, from Desdemona to Hamlet, to Ophelia.Following the internment of a 75 year old women, a biography with romanesque and tragic features emerged from her clinical condition: a love story and the Othello syndrom of her Romeo.

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Camati, A. S. "Who’s Afraid of Female Sexuality?: Paula Vogel’s Desdemona, a Play About a Handkerchief." Revista Scripta Uniandrade 10, no. 2 (December 30, 2012): 52–69. http://dx.doi.org/10.18305/1679-5520/scripta.uniandrade.v10n2p52-69.

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Carol Chillington Rutter. "Unpinning Desdemona (Again) or “Who would be toll’d with Wenches in a shew?”." Shakespeare Bulletin 28, no. 1 (2010): 111–32. http://dx.doi.org/10.1353/shb.0.0136.

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Rosa, Janaina Mirian, and Ketlyn Mara Rosa. "The temptation scene in Orson Welles' and Folias d'Arte's adaptations of "Othello"." Em Tese 21, no. 2 (January 29, 2016): 124. http://dx.doi.org/10.17851/1982-0739.21.2.124-135.

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O objetivo deste artigo é oferecer uma analogia quanto à representação da chamada cena da tentação no filme de Orson Welles intitulado Othello (1952) e na produção teatral de Otelo pelo grupo Folias d'Arte, que estreou em São Paulo no ano de 2003, ambas adaptações da peça de William Shakespeare. A cena da tentação é considerada pelos críticos como um momento crucial da peça, já que refere-se ao momento em que Iago astutamente reuni todas as suas forças como estrategista para influenciar os pensamentos de Otelo com a idéia de que Desdemona está traindo o Mouro com Cássio−e Iago atinge seu objetivo com sucesso.

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VON DASSANNOWSKY-HARRIS, ROBERT. "Finding the Words: Literary-Historical Revisionism in Christine Brückner's Wenn du geredet hättest, Desdemona." Seminar: A Journal of Germanic Studies 31, no. 4 (November 1995): 331–44. http://dx.doi.org/10.3138/sem.v31.4.331.

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Kaličanin, Milena. "PAULA VOGEL’S DESDEMONA (A PLAY ABOUT A HANDKERCHIEF): A FEMINIST READING OF SHAKESPEARE’S OTHELLO." PHILOLOGIA MEDIANA, no. 11 (2019): 177–88. http://dx.doi.org/10.46630/phm.11.2019.11.

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Djordjevic, Igor. "Goodnight Desdemona (Good Morning Juliet): From Shakespearean Tragedy to Postmodern Satyr Play." Comparative Drama 37, no. 1 (2003): 89–115. http://dx.doi.org/10.1353/cdr.2003.0012.

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BERGER, HARRY. "Acts of Silence, Acts of Speech: How to Do Things with Othello and Desdemona." Renaissance Drama 33 (January 2004): 3–35. http://dx.doi.org/10.1086/rd.33.41917385.

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Heejean Kim. ""I'm the Author!": Woman's Revision of Shakespeare, Ann-Marie MacDonald' Goodnight Desdemona (Good Morning Juliet)." Shakespeare Review 43, no. 1 (March 2007): 57–76. http://dx.doi.org/10.17009/shakes.2007.43.1.003.

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Toliver, Brooks. "Grieving in the mirrors of Verdi's Willow Song: Desdemona, Barbara and a ‘feeble, strange voice’." Cambridge Opera Journal 10, no. 3 (November 1998): 289–305. http://dx.doi.org/10.1017/s0954586700005449.

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Jayakumar, Archana. "Anti-Othellos and postcolonial Others in Izzat and Aastha." Indian Theatre Journal 5, no. 1 (August 1, 2021): 59–72. http://dx.doi.org/10.1386/itj_00016_1.

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While Indian cinematic adaptations that attempt to recreate William Shakespeare’s Othello have received scholarly attention, practically no work has been done on films that make fleeting references to the source text while questioning its authority. This article aims to fill the gap by presenting two Hindi-language postcolonial adaptations, namely Izzat (1968) and Aastha (1997), that can be read as anti-Othello films. They challenge Shakespeare’s status as a colonial icon in independent India by terming his works as ‘rotting feudal tales’ and by subverting Othello’s murder of Desdemona. However, although men of ‘low’, mixed or ambiguous origins do not kill their wives in these two adaptations, both films still depict the marginalization of caste, class and gender Others. This article will study the tension between these on-screen Others and the anti-Othello stance.

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Mahfouz, Safi M. "Challenging Hegemonic Patriarchy." Critical Survey 32, no. 4 (December 1, 2020): 3–20. http://dx.doi.org/10.3167/cs.2020.320402.

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Drawing on feminist theory, this article offers a feminist reading of some Arab Hamlet appropriations to demonstrate whether or not such plays qualify as feminist Shakespeare re-visions. It shows how some female characters in these plays have been, unlike their Shakespearean counterparts, empowered to challenge the hegemonic patriarchal structures of their societies while others remain oppressed and submissive. The discussed Arab Shakespeare renditions constitute only illustrative samples of heroic and oppressed women in the Arab Shakespeare canon which has been known for producing political satires. The featured plays include Ahmad Shawqī’s Masra‘ Kileopatrā (The Fall of Cleopatra), Egypt, 1946; Nabyl Lahlou’s Ophelia Is Not Dead, Morocco, 1968; Mamdūh Al-ʻUdwān’s Hamlet Wakes Up Late, Syria, 1976; Yūsuf Al-Sāyyegh’s Desdemona, Iraq, 1989; Jawād Al-Assadī’s Forget Hamlet, Iraq, 1994; and A Midsummer Night’s Dream, Palestine, 2011.

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