Relevant bibliographies by topics / Othello

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Othello'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Othello"

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Kowalcze-Pawlik, Anna. "The Moor’s Political Colour: Race and Othello in Poland." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (December 30, 2020): 171–90. http://dx.doi.org/10.18778/2083-8530.22.10.

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This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.
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Sapa, Gregorius, Maksimilianus Doi, and Febe F. I. Wanggai. "THE DETERIORATION OF HERO IN WILLIAM SHAKESPEARE’S OTHELLO THE MOOR OF VENICE." Lantern: Journal of Language and Literature 8, no. 1 (February 29, 2024): 39–52. http://dx.doi.org/10.37478/lantern.v8i1.3833.

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This study aimed at describing Othello’s deterioration in William Shakespeare’s The Moor of Venice through the intrinsic aspects of the drama. This study adopted structuralism approach and the theory of wholeness to answer the problem issued. This study used descriptive qualitative design that the data were taken from William Shakespeare the Tragedy of Othello the Moor of Venice edited by Alvin Kernan (1963). The results denote that Othello has flaws which lead to his deterioration. Gullible and excessive in loving his wife are the flaws that produce jealousy. Finally, without knowing the fact, Othello kills his wife, and he also kills himself after realizing the truth. The flaws of Othello are identified through plot, character, thought/theme, diction, rhythm, and spectacle.
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Setyaningrum, Rizky. "OTHELLO’S VERBAL DEFENCE: DISTORTING REALITY IN SHAKESPEARE’S OTHELLO." IJOLTL: Indonesian Journal of Language Teaching and Linguistics 3, no. 2 (May 30, 2018): 133–46. http://dx.doi.org/10.30957/ijoltl.v3i2.452.

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The study describes Othello’s verbal defences by means of Perry London’s Verbal Defences theory as reflected in William Shakespeare’s Othello, the Moor of Venice. The study was a content analysis whose primary data were words, phrases, sentences and dialogues in the play. The secondary data were articles discussing the Othello, the Moor of Venice. Data were analyzed through determining Othello’s arguments on ego verbal defence mechanisms using Perry London’s Verbal Defences theory. This study revealed that three elements of verbal defences, namely, emotional insulation, intellectualization, and rationalization are experienced by Othello. They operate unconsciously and these mechanisms neutralize the upsetting impact of threatening ideas by distorting reality. In distorting reality, ego takes some extreme ways. One of those ways is “talking away” the anxiety stimuli as well as by the other means of obscuring and retreating from reality.
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Maharani, Puja, and Tomi Arianto. "ANXIETY THAT CONVEYING TRAGEDY IN OTHELLO DRAMA BY SHAKESPEARE." JURNAL BASIS 9, no. 2 (October 22, 2022): 303–12. http://dx.doi.org/10.33884/basisupb.v9i2.6421.

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Humans are always in touch with the needs in this life. In order to survive, one of the most important examples is the need for safety needs. The phenomenal drama Othello by Shakespeare was chosen as the main data source in this research. This research aimed to analyze the unfulfilled of safety needs in the form of anxiety and its impact on the main character in Shakespeare's drama "Othello". This drama was set in 1603 with a tragedy and was written by the world-famous playwright William Shakespeare. The story that ended in tragedy is inseparable from the anxiety used by others to overthrow power and the Othello family. With these problems, the researchers explored the anxiety factor by using Maslow's psychological theory about the hierarchy of needs, especially at the level of safety needs. This research used qualitative descriptive method because the data collection technique used is to describe the analysis through words and sentences that exist in the data source. The approach used in this research was psychological approach in a literary work. The results found from this research that there is an anxiety factor that underlie Othello's feeling that he is always threatened. Jealousy is a factor that causes anxiety in the character "Othello" which focused on household relationships. This excessive anxiety then causes impacts in the form of misunderstanding, the death of Othello's wife, and Othello's suicide.
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Sniderman, Alisa Zhulina. "In the Dark: Sex, Lies, and Fake News in Sam Gold’s Othello." TDR/The Drama Review 61, no. 4 (December 2017): 128–33. http://dx.doi.org/10.1162/dram_a_00696.

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Sam Gold’s production of Othello explores the interrelated themes of war and the cultural construction of identity by foregrounding the play’s encounters between Christianity and Islam. Instead of focusing solely on Othello’s race, Gold’s political and ethical reevaluation of Shakespeare’s Othello examines the many facets of blackness, from a color assigned to people to the epistemological state of being in the dark.
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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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Stein, Mark. "The Othello Conundrum: The Inner Contagion of Leadership." Organization Studies 26, no. 9 (September 2005): 1405–19. http://dx.doi.org/10.1177/0170840605055339.

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The purpose of this paper is to contribute to the literature on leadership, emotions and organizations by examining Shakespeare’s Othello. While much of the existing literature focuses exclusively on the external dimensions of leadership, this paper adds a new dimension by focusing as well on the internal workings of the mind of the leader, here that of Othello. This focus is made possible by postulating that the subordinate Iago — whose relationship to Othello is central to the plot — represents an inner character within Othello’s mind, as well as an external character. As an inner character, Iago fills Othello’s mind with powerful feelings of jealousy and envy, especially about an alleged relationship between Othello’s wife and his lieutenant, Cassio. Othello’s conundrum thus concerns whether he should tolerate these feelings and live with his uncertainty about his wife’s purported infidelity, or, alternatively, try to rid himself of these feelings by killing her and Cassio. Concepts from psychoanalysis and a variety of other traditions are drawn on. Following this, there is an exploration of a contemporary reference, that of the demise of the Gucci family dynasty. The paper ends with an examination of the implications and a conclusion.
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Johanyak. "Shifting Religious Identities and Sharia in Othello." Religions 10, no. 10 (October 20, 2019): 587. http://dx.doi.org/10.3390/rel10100587.

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Despite twenty-first century research advances regarding the role of Islam in Shakespeare’s plays, questions remain concerning the extent of William Shakespeare’s knowledge of Muslim culture and his use of that knowledge in writing Othello. I suggest that the playwright had access to numerous sources that informed his depiction of Othello as a man divided between Christian faith and Islamic duty, a division which resulted in the Moor’s destruction. Sharia, a code of moral and legal conduct for Muslims based on the Qur’an’s teachings, appears to be a guiding force in Othello’s ultimate quest for honor. The advance of the Ottoman Empire into Europe with the threat of conquest and forced conversion to Islam was a source of fascination and fear to Elizabethan audiences. Yet, as knowledge increased, so did tolerance to a certain degree. But the defining line between Christian and Muslim remained a firm one that could not be breached without risking the loss of personal identity and spiritual sanctity. Denizens of the Middle East and followers of the Islamic faith, as well as travel encounters between eastern and western cultures, influenced Shakespeare’s treatment of this theme. His play Othello is possibly the only drama of this time period to feature a Moor protagonist who wavers between Christian and Muslim beliefs. To better understand the impetus for Othello’s murder of his wife, the influence of Islamic culture is considered, and in particular, the system of Sharia that governs social, political, and religious conventions of Muslim life, as well as Othello’s conflicting loyalties between Islam as the religion of his youth, and Christianity, the faith to which he had been converted. From Act I celebrating his marriage through Act V recording his death, Othello is overshadowed by fears of who he really is—uncertainty bred of his conversion to Christian faith and his potential to revert to Islamic duty. Without indicating Sharia directly, Shakespeare hints at its subtle influence as Othello struggles between two faiths and two theologies. In killing Desdemona and orchestrating Michael Cassio’s death in response to their alleged adultery, Othello obeys the Old Testament injunction for personal sanctification. But in reverting to Muslim beliefs, he attempts to follow potential Sharia influence to reclaim personal and societal honor.
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Trivedi, Poonam. "In and out of Othello." Indian Theatre Journal 5, no. 1 (August 1, 2021): 137–48. http://dx.doi.org/10.1386/itj_00021_1.

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Othello has been the play that seems to speak to current issues of racism and sexism for the last couple of decades. Recent Indian productions have stretched its relevancies further, particularly addressing the politics of identity, of individual and state, of belonging and othering. The 2014 award-winning Assamiya film Othello (We Too Have Our Othellos) appropriates and radicalizes the main concerns of the play to embody and critique the movements for self-determination that continue to rage in the state. The article examines this unusual Indian adaptation of Shakespeare that locates the play directly within the public sphere of the politics of the state through its singular focus on Othello as an ‘outsider’ figure paralleled by other such figures of contemporary Assamese society. It will contextualize the discussion of this film, its production and positioning within the film industry of Assam and attempt to define the nature of its adaptation. It will also glance at its similarities with the earlier film In Othello (2003), which too connected Shakespeare and Assam to illustrate the volatile configurations of the outsider/insider status in contemporary India.
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Nadal-Ruiz, Alejandro. "Celebrating Cultural Hybridity Through Storytelling: Othello as a Borderlands Character in Caryl Phillips’ The Nature of Blood." ES Review. Spanish Journal of English Studies, no. 42 (November 9, 2021): 199–215. http://dx.doi.org/10.24197/ersjes.42.2021.199-215.

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This paper provides a new approach to Othello’s story in Caryl Phillips’ polyphonic novel The Nature of Blood (1997). The fictional Othello finds himself at the crossroads between different cultures and is struggling to define his identity. Making use of Gloria Anzaldúa’s borderlands theory as exposed in her work Borderlands/La Frontera (1987), this study explores Phillips’ Othello as a borderlands character. Accordingly, it is the purpose of this paper to demonstrate that, as a borderlands character-narrator, Othello succeeds in bringing together the two hitherto conflicting cultures that he knows (Africa and Venice) through storytelling. Indeed, his narrative proves a transborder testimony that contributes to creating a debate forum where cultural hybridity is celebrated.um where cultural hybridity is celebrated.
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Dissertations / Theses on the topic "Othello"

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Redi, Marta <1988&gt. "Four Representations of Othello." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/2464.

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La tesi si pone l'obiettivo di analizzare la tragedia "Othello" di William Shakespeare, comparandola con alcuni adattamenti. Partendo dall'analisi dell'opera shakespeariana e analizzandone soprattutto l'aspetto linguistico, la tesi si sposterà sull'adattamento lirico di Giuseppe Verdi, sottolineandone la nuova vena "romantica". Procederà poi con il film di Orson Welles, cercando di dare una possibile lettura del film-capolavoro del regista statunitense. Concluderà, infine, con l'adattamento moderno di Carmelo Bene per cerare di dimostrare una sorta di vicinanza tra il drammaturgo inglese e il teatro moderno.
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Queneau-Martel, Martine Joannis Claudette. "Othello : les représentations du personnage à Paris au XIXe siècle : année de muséologie 2002-2003 /." Orsay : M. Queneau, 2003. http://catalogue.bnf.fr/ark:/12148/cb39264002v.

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Jay, Corey M. "The Unraveling of Shakespeare's Othello." Scholarship @ Claremont, 2012. http://scholarship.claremont.edu/scripps_theses/117.

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This thesis analyzes one of Shakespeare’s greatest tragedies from the perspective of its costumes, and chronicles the start-to-finish process of the costume design for the April 2012 production of Othello held at Pomona College. Incorporating the Pre-Raphaelite art movement with high fashion’s late Alexander McQueen, this thesis brings to light Othello’s predominant themes of race and honesty by means of luxurious textiles and distinct silhouettes.
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McGrath, Alyssa F. "Aaron, Othello, and Caliban: Shakespeare's Presentation of Ethnic Minorities in Titus Andronicus, Othello, and The Tempest." Marietta College Honors Theses / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=marhonors1367332575.

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Persson, Maja. "Svartsjuka i transformation : En komparativ undersökning av William Shakespeares drama Othello och den moderna filmatiseringen Othello (1995)." Thesis, Uppsala universitet, Litteraturvetenskapliga institutionen, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-146452.

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Glotzer, Anna Nicole. ""Richard Wright's Native Son and Paul Robeson's Othello: Representations of Black Male Physicality in Contemporary Adaptations of Othello."." University of Akron / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=akron1523290957796557.

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Bourkiba, Larbi Abdelrhaffar. "Parody and ideology: The case of Othello." Doctoral thesis, Universitat de València, 2005. http://hdl.handle.net/10803/9791.

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This disertation is composed of a preface introducing the themes, the data and the reasons after their selection. My concern is to investigate some artistic and social aspects of parody, through the study of Shakespeare's Othello, and Dowling's 19th century and Welles' and Marowitz' 20th century parodies. Chapter one includes the theory. It studies the concepts of parody and ideology, and gives an approach of the politics of reworking Shakespeare. Shakespeare's patronage writings were found conservative. His elevation in the 18th century as a hero of wit against the 'French' and his canonizing in literature minimized negative criticism to his works. In the 19th century, veneration to Shakespeare continued though many restrictions were imposed on the performance of serious tragedies. Victorian parodists used subterfuges, such as singing and dancing, in order to be permitted to perform the tragedies. This is the case of Dowling's Othello Tavestie. In the 20th century, literature became a second hand writing, Shakespeare's works were reworked against a mark of social concerns. Welles' film and Marowitz' collage are representatives of this reworking and are concerned with the problems strangers suffer in occident. Ideology is a found to difuse term and its defining characteristics needing and common to other domains. Parody is ideological in its relation with art from where it sucks its form, and with society from where it lends its moral and aesthetic norms. It has a status of authorized transgresion, and often uses satire to denounce what it thinks old and immoral in the original texts. In the conclusion, I see that parody has incessantly displaced the objectives of its writings and adapted itself to the ideological and aesthetic interests of its public. In the age of Shakespeare its objective was to enrich the new English culture by model-works of Italian Renaissance artists. The use of tragedy helped Shakespeare emphasize human weakness before the forces of evil and disorder and purge his public from disobedience and false appearances (chapter 2). In the nineteenth century, parody assimilated satire, burlesque, and ridicule to denounce social and artistic flaws. Dowling criticizes the oppression of the privileged official theatre to the illegitimate one. The comic transposition of the canon and the ridiculing of action and actors celebrates a popular carnival and taught realism by fixing the eyes of its humble public on vulgar objects and trivial actions proper to their way of life (chapter 3).By the times of Welles, imitating and rewriting ancient works were being considered necessary for new creations: The reflexive second degree literature. The cinema, by its visual and auditive effects, and its sophisticated techniques and illumination, came to pursue the role theatre as a denuder of literature. While parodying Othello, Welles questions the tragedy's conventions of causality and lineal composition by inverting the chronological order of the story and anticipating the final action through starting the film from the last scene of Othello's funeral and Iago's punishment, and narrating the story as flash backs in Iago's memories (chapter 4). Later on, parody gained a status equivalent to a vision of the world, with proper cultural and ideological implications. It became a reflexive archeology of texts which analyzed the conditions of composition and reception of these texts. In An Othello, Marowitz first inverted the text of Shakespeare, then transtextualizes the tragedy giving it an actual context and a vivid situation (multi-racial marriage in a post-holocaust society). He resumes to satire to crystallize his moral and aesthetic vision, in a denouncing mood of what he sees as incongruities of Shakespeare's work and society (the tragedy empathy and the society's tolerance with outsiders), (chapter 5).
La parodia es un campo de ideología por dos razones: por su relación con el arte de donde saca su forma, y en relación con la sociedad donde reside sus valores morales y estéticos. És una transgresión authorizada que empieza como una crítica al viejo texto y termina como su protector. Ésta disertación estudia la transformación de una misma obra literaria: la historia de Cintio sobre el moro de venecia, en la tragedia de Otelo por Shakespeare en 1604, en la burleta de Otelo por Maurice Dowling en 1839, en un film melodramático por Orson Welles en 1952, y finalmente en un colage postmodernista por Charles Marowitz en 1972. Del estudio de éstas obras se ha podido llegar a la conclusión de que el acto de re-escribir un texto conlleva la introducción de cualquier cambio el parodista juzga necesario para modernizar el viejo texto y amoldarlo a las nuevas normas socials y estéticas; pero ésta recontextualization del viejo texto es al mismo tiempo el chivato de las intenciones ideological que el parodista intenta inculcar en el receptor.
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Phillips, Matthew Scott. "A Moor propre: Charles Albert Fechter's Othello." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1407486785.

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Peters, Jeri Lynn. "The trouble with gender in Othello a Butlerian reading of William Shakespeare's The tragedy of Othello, the Moor of Venice /." Auburn, Ala., 2007. http://repo.lib.auburn.edu/2007%20Spring%20Theses/PETERS_JERI_4.pdf.

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Fu, Luella. "Tragic Pleasure in Shakespeare's King Lear and Othello." Scholarship @ Claremont, 2010. http://scholarship.claremont.edu/cmc_theses/57.

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This thesis is an examination of reader or audience response to Shakespeare’s tragedies. Primarily, it identifies key pleasures that Shakespeare’s King Lear and Othello offer. The complementary nature of these two plays is such that the analysis of their various pleasures allows for an in-depth treatment of the topic and also reflects the diversity of emotional response elicited by Shakespeare’s tragedies. The kinds of pleasure addressed in this study are catharsis as explained by Aristotle, the delight of violent passion as advocated by DuBos, pleasure from details in the work, satisfaction from the coherence of the tragedy, and pleasure in the idealization of tragedy.
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Books on the topic "Othello"

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Shakespeare, William. Othello. Hauppauge, NY: Barron's Educational Series, 2002.

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Shakespeare, William. Othello. New York: Penguin Group USA, Inc., 2008.

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Shakespeare, William. Othello. San Diego, CA: ICON Classics, 2005.

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Hampton-Reeves, Stuart. Othello. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-1-137-26810-5.

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Orlin, Lena Cowen, ed. Othello. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-1-137-11548-5.

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Davison, Peter. Othello. London: Macmillan Education UK, 1988. http://dx.doi.org/10.1007/978-1-349-19430-8.

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Shakespeare, William. Othello. [Don Mills, Ont.]: Harcourt Brace Jovanovich, 1987.

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Company, Royal Shakespeare. Othello. [Stratford-upon-Avon]: Royal Shakespeare Company, 1999.

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Norman, Smith Christopher, ed. Othello. Exeter [England]: University of Exeter, 1991.

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ill, Osada Ryuta, and Shakespeare William 1564-1616, eds. Othello. New York: Amulet Books, 2009.

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Book chapters on the topic "Othello"

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Bradley, A. C. "Othello." In Shakespearean Tragedy, 149–77. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22059-5_5.

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Bradley, A. C. "Othello." In Shakespearean Tragedy, 178–207. London: Macmillan Education UK, 1992. http://dx.doi.org/10.1007/978-1-349-22059-5_6.

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Grene, Nicholas. "Othello." In Shakespeare’s Tragic Imagination, 90–125. London: Palgrave Macmillan UK, 1996. http://dx.doi.org/10.1007/978-1-349-24970-1_5.

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Goodland, Katharine, and John O’Connor. "Othello." In A Directory of Shakespeare in Performance Since 1991, 226–31. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_23.

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Goodland, Katharine, and John O’Connor. "Othello." In A Directory of Shakespeare in Performance Since 1991, 1471–528. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1007/978-1-349-58788-9_62.

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Goodland, Katharine, and John O’Connor. "Othello." In A Directory of Shakespeare in Performance, 1970–1990, 210–22. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_23.

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Goodland, Katharine, and John O’Connor. "Othello." In A Directory of Shakespeare in Performance, 1970–1990, 1309–66. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1007/978-1-349-60041-0_63.

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Brown, John Russell. "Othello." In A. C. Bradley on Shakespeare’s Tragedies, 65–86. London: Macmillan Education UK, 2007. http://dx.doi.org/10.1007/978-0-230-20714-1_10.

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Paris, Bernard J. "Othello." In Bargains with Fate, 63–106. Boston, MA: Springer US, 1991. http://dx.doi.org/10.1007/978-1-4899-6146-4_4.

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Grene, Nicholas. "Othello." In Shakespeare’s Tragic Imagination, 90–125. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1057/9780230379190_5.

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Conference papers on the topic "Othello"

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Eskin, Eleazar, and Eric Siegel. "Genetic programming applied to Othello." In The proceedings of the thirtieth SIGCSE technical symposium. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/299649.299771.

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Hingston, P., and M. Masek. "Experiments with Monte Carlo Othello." In 2007 IEEE Congress on Evolutionary Computation. IEEE, 2007. http://dx.doi.org/10.1109/cec.2007.4425000.

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Szubert, Marcin, Wojciech Jaskowski, and Krzysztof Krawiec. "Coevolutionary Temporal Difference Learning for Othello." In 2009 IEEE Symposium on Computational Intelligence and Games (CIG). IEEE, 2009. http://dx.doi.org/10.1109/cig.2009.5286486.

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Frankland, Clive, and Nelishia Pillay. "Evolving game playing strategies for Othello." In 2015 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2015. http://dx.doi.org/10.1109/cec.2015.7257065.

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Makris, Vassilis, and Dimitris Kalles. "Evolving Multi-Layer Neural Networks for Othello." In SETN '16: 9th Hellenic Conference on Artificial Intelligence. New York, NY, USA: ACM, 2016. http://dx.doi.org/10.1145/2903220.2903231.

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Vijayakumar, Arvind. "Developing an artificial intelligence bot for Othello." In 2015 IEEE Integrated STEM Education Conference (ISEC). IEEE, 2015. http://dx.doi.org/10.1109/isecon.2015.7119927.

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Somasundaram, Thamarai Selvi, Karthikeyan Panneerselvam, Tarun Bhuthapuri, Harini Mahadevan, and Ashik Jose. "Double Q–learning Agent for Othello Board Game." In 2018 Tenth International Conference on Advanced Computing (ICoAC). IEEE, 2018. http://dx.doi.org/10.1109/icoac44903.2018.8939117.

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Smerdis, Miltiadis, Pavlos Malakonakis, and Apostolos Dollas. "CarlOthello : An FPGA-Based Monte Carlo Othello player." In 2010 International Conference on Field-Programmable Technology (FPT). IEEE, 2010. http://dx.doi.org/10.1109/fpt.2010.5681471.

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Marie, Laurence. "« Othello à Paris, ou les scandales en série ? »." In Théâtre et scandale (II) : scandales d’hier, scandales d’aujourd’hui. Fabula, 2020. http://dx.doi.org/10.58282/colloques.6665.

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Mouelhi, Oumeima. "Othello: A Legal Alien in Multicultural Renaissance Venice." In The Paris Conference on Education 2023. The International Academic Forum(IAFOR), 2023. http://dx.doi.org/10.22492/issn.2758-0962.2023.21.

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Reports on the topic "Othello"

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Is Othello Boss Syndrome Affecting Your Organization? IEDP Ideas for Leaders, February 2014. http://dx.doi.org/10.13007/315.

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