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Redi, Marta <1988>. "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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Schmeal-Swope, Catherine Isabel. "Costume Design and Production for Othello, by William Shakespeare." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306343922.
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Pilla, Eleni. "The renegotiation of space in film versions of Othello." Thesis, Royal Holloway, University of London, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439434.
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Grosh, Joanna R. "Sacrificial figures in Romeo and Juliet, Othello, and Lear /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487678444258777.
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Comisso, Giulia <1994>. "A rhetorical analysis of Iago's deceptions in Shakespeare's "Othello"." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19030.
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Iago è considerato un personaggio malvagio, impegnato nel portare a compimento la distruzione di Otello. Nel tentare di realizzare i propri piani Iago coinvolge, tramite inganno, numerosi altri personaggi, costringendoli ad agire secondo i propri desideri. L’obiettivo del presente studio è quello di analizzare la strategia manipolatoria tramite la quale Iago condiziona le credenze e le azioni delle proprie vittime. Il modello che emerge dallo studio delle interazioni di Iago con gli altri personaggi del dramma si articola in tre fasi. La prima corrisponde all’instaurazione di un rapporto di fiducia tra Iago e i suoi interlocutori. Ottenuto ciò, egli modifica i paradigmi interpretativi della realtà delle proprie vittime, in modo da alterare i valori di verità che esse stabiliscono sulla base delle loro osservazioni. Nella terza ed ultima fase, Iago propone nuove linee d’azione, basate sulle prospettive e credenze appena indotte nelle sue vittime. Questa strategia e le tecniche usate per realizzarla sembrano riflettere le teorie rinascimentali sul discorso persuasivo che, nell’Inghilterra seicentesca, erano prevalentemente trattate nei manuali di retorica. Dunque, la prima parte di questo studio è dedicata al ruolo della retorica nella società e nel sistema educativo rinascimentali. I due testi di riferimento principali sono la “Rhetorica ad Herennium”, di autore ignoto, e i tre libri della “Retorica” di Aristotele, poiché essi sono considerati tra i più influenti e diffusi del tempo. Questa prima parte si conclude con una breve trattazione dell’influenza della retorica rilevata nell’opera shakespeariana in generale e in “Otello” in particolare, facendo riferimento specialmente allo lavoro svolto da Quentin Skinner in “Forensic Shakespeare”. La seconda parte del presente studio è rivolta all’analisi della strategia retorica di Iago e alle tecniche con cui egli le adatta alle diverse personalità delle sue vittime. I principali elementi da cui parte l’indagine sono le parole e i comportamenti di Iago e le reazioni che egli suscita nei personaggi con cui interagisce. I suoi discorsi sono esaminati sulla base della tradizionale tripartizione dei metodi persuasivi in “ethos”, “pathos” e “logos”. Da tali analisi emerge che il modello su cui gli inganni di Iago sono strutturati e le tecniche con cui vengono realizzati rispecchiano le pratiche retoriche rinascimentali.
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Rosenquist, Emil. "Hur presterar ett artificiellt neuralt nätverk gentemot sökalgoritmen alpha-beta pruning i spelet Othello? : Jämförelse av ANN system och ABP system på spelet Othello." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17011.
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Deterministiska turbaserad tvåspelarspel är ett område som används inom AI forskning för att jämföra AI system. Detta arbete fokuserar på att jämföra teknikerna artificiell neuralt nätverk och alpha-beta pruning i spelet othello. Arbetet undersökte hur dessa tekniker presterar i relation till beräkningstiden. Othello positionerna representeras i en 8 x 8 matris som teknikerna använder för att hitta det optimala draget. Systemen värderades enligt en definierat metod som använder ett befintlig AI system för othello Edax. De testades på 154 othello partier med 77 stycken förbestämda startpositioner. Nätverket tränades med inlärningsdata som bestod av drag från professionella othello matcher och från Edax. Resultatet visade att ABP systemen värderades linjärt mot exponentiell beräkningstid medans ANN systemen värderades konstant mot linjär beräkningstid. Resultatet av ANN systemen tyder på att inlärningsdatan är bristande. Framtida arbete bör använda mer och bättre inlärningsdata.
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滝川, 睦., and Mutsumu TAKIKAWA. "中傷・主体性・自己劇化 - Othello -." 名古屋大学文学部, 2003. http://hdl.handle.net/2237/9284.
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Rafferty, Barclay. "Adaptations of Othello : (in)adaptability and transmedial representations of race." Thesis, De Montfort University, 2015. http://hdl.handle.net/2086/12075.
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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.
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Guevara, Perry Daniel. "(Un)Doing Desdemona gender, fetish, and erotic materiality in Othello /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457178998/viewonline.
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Somers, Kathleen Emerald. "Pierced Through the Ear: Poetic Villainy in Othello." BYU ScholarsArchive, 2010. https://scholarsarchive.byu.edu/etd/2436.
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The paper examines Othello as metapoetry. Throughout the play, key points of comparison between Iago and Shakespeare's methodologies for employing allegory, symbolism, and mimetic plot and character construction shed light upon Shakespeare's self-reflexive use of poetry as an art of imitation. More specifically, the contrast between Shakespeare and Iago's poetry delineates between dynamic and reductive uses of allegory, emphasizes an Aristotelian model of mimesis that makes reason integral to plot and character formation, and underscores an ethical function to poetry generally. In consequence of the division between Iago and Shakespeare as unethical and ethical poets respectively, critical contention concerning the play's representation of race and gender receive commentary. While Iago authors reductive narratives that lead to stereotypes, Shakespeare's narrative critiques and condemns the works of his villain to argue against common opinion and customs which deny justice by replacing individuality with generalizations about groups of people. Moreover, as he demonstrates Iago's conscious, manipulative creation of such reductive narratives for his own purposes, Shakespeare draws attention to the construction of narratives both within and without poetry, and, in so doing, he defends poetry against the Puritan condemnations from his day by showing that these condemnations cannot be restricted to poetry alone. Ultimately, reading the play as metapoetry offers a perspective on Iago's characterization which blurs the typical classifications made by modern critics, challenges the notion of a reason/ imagination dichotomy wherein reason stands outside of or even in opposition to poetic imagination, and exposes the shortcoming of the critical view that Iago represents reason and the play Shakespeare's own concerns about its limitations.
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Copas, Leigh. "Courtship, Loe, and Marriage in Othello: Shakespeare's Mockery of Courtly Love." TopSCHOLAR®, 2006. http://digitalcommons.wku.edu/theses/449.
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Othello is the forgery of a comedic play turned tragedy, for the play begins where the ordinary comedy would end. While many critics prefer to discuss the racial and exotic aspects of William Shakespeare's tragedy, there are several critics who focus on the role of love and the marital relationships that are also important in terms of interpreting the actions of key characters. Carol Thomas Neely, Maurice Charney, and several other literary critics have focused primarily on the role of marriage and love in Othello. The topic of marriage is generally discussed in terms of the wooing scene (Act 1, scene 3) and the perverted consummation of the marriage rights (Act 5, scene 1), but there is little reflection on the courtly love rules and conventions from most critical approaches. Courtly lovers were a dying breed in Shakespeare's time, yet he employs the use of basic courtly love principles not only in Othello, but in many of his works, particularly comedies like the Merry Wives of Windsor and As You Like Lt. The use of such principles allows ridicule and scorn to take place in the plays, but in Othello, courtly love introduces the themes of cuckoldry and, most importantly, women's loss of power. Women's loss of power is another issue that critics often deconstruct, yet this concept is also linked to the principles of courtly love. Within the courtly love tradition men were often submissive to women—in Chretien de Troyes' Lancelot and Geoffrey Chaucer's "The Wife of Bath's Tale," men tended to bend to the will of women, often finding happiness and true love by doing so. The Moor General Othello is first presented as a submissive husband, but as the play progresses, the embarrassment of Desdemona's presumed infidelity begins to unravel his ideas of love. Instead of following the courtly conventions of dealing with adultery, Othello transforms into the Renaissance ideal Petrarchan lover, one who seeks spiritual love over physical love and views sexuality as sinful. The ideas and rules of courtly love contradicted the principles of the Renaissance Petrarchan lover. However, Shakespeare employed the tradition of courtly love to emphasize mockery and satire as overall themes of the play. For example, Othello and Desdemona are presented first and foremost as lovers that uphold the conventions of courtly love—they try to keep their relationship as secretive as possible and Othello appears subject to the will of his beloved. However, later in the play, instead of listening to the guidance and innocent speeches of his beloved, Othello returns to the love philosophies of antiquity. To the philosophers of classic love philosophy, love, and therefore passion, was considered sinful and untrustworthy, especially as a firm foundation for progress. Ultimately, it is Othello's devotion to his militaristic and social images that outweighs his love for Desdemona. Yet, instead of separating from his wife, the Moor feels that the only way to win control over the lord-vassal relationship is to murder her, or as he claims in Act 5, scene 1, to "sacrifice her." Othello depicts the ideas and rules of courtly love outlined and recorded by Andres Capellanus in The Art of Courtly Love. Whilst his contemporaries still dreamed of fair maidens with sparkling eyes, Shakespeare explored other methods and conventions from the Middle Ages and combined, as well as contrasted, them with the newer conventions of the Renaissance. His story is one of anti-courtly love—a story focusing on the death of chivalry, romantic courting, and Othello's inability to love. The play detests, destroys, and mocks the ideas of courtly wooing, marriage, and fidelity. A play of power, Othello reflects such characteristics through a verisimilitude of circumstances, specifically seen in the wooing of Desdemona, the marriage bed of Othello and Desdemona, and the loss of women's power in the play. Tainted with "honorable" murder, jealousy, and the fabliau tradition of cuckoldry, Othello has been preserved as Shakespeare's great tale of love gone awry.
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Seymour, Justin E. "The Use of Modem Film to Examine Iago in Shakespeare's Othello." Xavier University / OhioLINK, 2007. http://rave.ohiolink.edu/etdc/view?acc_num=xavier1352849007.
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Hays, Michael Louis. "Shakespearean tragedy as chivalric romance : rethinking Macbeth, Hamlet, Othello and King Lear /." Cambridge : D. S. Brewer, 2003. http://www.loc.gov/catdir/toc/fy045/2003004936.html.
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McCleary, Mary. "Textual composition and the Macbeth, Othello, and Falstaff of Shakespeare and Verdi." Thesis, Boston University, 2012. https://hdl.handle.net/2144/32035.
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Thesis (Ph.D.)--Boston UniversityPLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
The dissertation examines adaptations of Shakespearean plays in the operatic libretti of Giuseppe Verdi (1813-1901), who dominated Italian opera in the second half of the nineteenth century. Although Verdi relied on the assistance of librettists with all his operas, he maintained scrupulous control over the textual details. The primary focus is on the triangle formed by Shakespeare, Verdi, and the librettist with considered attention to the ways in which a dramatic crux, or challenge, will both differ from and be cognate with an operatic crux. The monograph explores original Shakespearean sources, literary and musicological criticism, and the impact of historical circumstances on the genesis of Verdi's Shakespearean libretti. A brief biographical account of the composer is followed by a synopsis of the development of opera and an overview of the role of the librettist. It then addresses the distinguishing features of Shakespeare's writing that need to be considered when assessing adaptations of his plays into libretti. The second, third, and fourth parts of the study focus respectively on the three operas: Macbeth (1847) written with librettist Francesco Piave, Otello (1887), and Falstaff (1893), the latter two written with Arrigo Boito. Additional research includes new evidence regarding Verdi's unfinished Re Lear. The three complete operas are examined in close textual comparison with their original sources. Particular attention is given to the translations used in the libretti; textual and plot conformity; replication of rhyme and meter; diction and syntax; character portrayal and replication; and distinctions between dramatic and operatic settings. The study also compares different editions of the plays upon which the operas were based, as well as various editions of correspondence. The conclusion assesses Verdi's contribution to Shakespearean adaptation and the subsequent implications for the task of the librettist in creating a quality text that enhances, rather than detracts from, the composer's effort.
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Rich, Sarita Clara. "Reviving the Latent Content of Alchemy in William Shakespeare's Othello." BYU ScholarsArchive, 2011. https://scholarsarchive.byu.edu/etd/2720.
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While many of Shakespeare's alchemical allusions are noted for their language of positive regeneration and healing, the playwright's departures from these conventional uses of alchemy deserve further attention. This essay presents an examination of inversions in the redemptive alchemical paradigm of Othello, a play whose connections to alchemy are not announced by obvious references to gold making, the philosopher's stone, or other key terms relating to the discourse of the opus that a modern audience is likely to recognize. I argue that in Othello, alchemical allusions are more subtly deployed in the language that describes Othello and Desdemona's marriage, in the metaphorical speech of Othello's self-doubt, in Desdemona's characterization, and in Iago's references to medicine. My reading of the alchemical context of the play shows the following: Othello and Desdemona's marriage, a figurative manifestation of the hermaphroditic union in which man and woman consistently appear as equals, counters representations of patriarchal dominance in the early modern period; Othello's capacity for rhetorically gifted expression remains intact instead of disintegrating, as evidenced by the alchemical metaphors in his lamentations of the "loss" of Desdemona's purity; Desdemona's role in the tragedy is illuminated by her characterization which is reminiscent of dual Mercury; and Iago's own alchemical language offers insight into his role as the instigator of tragic events. Taken together, these alchemical associations suggest that Shakespeare found in alchemy a fitting framework in which to present the drama of destabilization.
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Hunter, Christopher P. Jr. "Scorched Earth: Unlocking the Mysteries of Shakespeare's Greatest Villain, Iago in Othello." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2696.
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The following thesis is an in-depth actor analysis chronicling my approach to the role of Iago in TheatreUNO’s 2019 production of Othello by William Shakespeare. This thesis will include analysis of the text, character objectives, techniques used, observations about the application of contemporary realistic acting technique to classical verse text, self-evaluation and personal reflection. This thesis will be supported by production materials including a fully scored script.
This play was directed by David W. Hoover, and performed April 25- May 4, 2019,as part of the TheatreUNO 2018-2019 academic season, presented by the Department of Film and Theatre in the School of the Arts, at the University of New Orleans, New Orleans, Louisiana. Scenic Design was by Kevin Griffith, Lighting design was by Diane Baas, Costume design was by Anthony French, Vocal coaching was by L. Kalo Gow, and Alexandra Marie Rainey served as the Stage Manager.
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Hlynur, Davíð Hlynsson. "Predicting expert moves in the game of Othello using fully convolutional neural networks." Thesis, KTH, Robotik, perception och lärande, RPL, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-210914.
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Careful feature engineering is an important factor of artificial intelligence for games. In this thesis I investigate the benefit of delegating the engineering efforts to the model rather than the features, using the board game Othello as a case study. Convolutional neural networks of varying depths are trained to play in a human-like manner by learning to predict actions from tournaments. My main result is that using a raw board state representation, a network can be trained to achieve 57.4% prediction accuracy on a test set, surpassing previous state-of-the-art in this task. The accuracy is increased to 58.3% by adding several common handcrafted features as input to the network but at the cost of more than half again as much the computation time.Noggrann funktionsteknik är en viktig faktor för artificiell intelligens för spel. I dennaavhandling undersöker jag fördelarna med att delegera teknikarbetet till modellen i ställetför de funktioner, som använder brädspelet Othello som en fallstudie. Konvolutionellaneurala nätverk av varierande djup är utbildade att spela på ett mänskligt sätt genom attlära sig att förutsäga handlingar från turneringar. Mitt främsta resultat är att ett nätverkkan utbildas för att uppnå 57,4% prediktionsnoggrannhet på en testuppsättning, vilketöverträffar tidigare toppmoderna i den här uppgiften. Noggrannheten ökar till 58.3% genomatt lägga till flera vanliga handgjorda funktioner som inmatning till nätverket, tillkostnaden för mer än hälften så mycket beräknatid.
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Boccardo, Beatrice <1993>. "Moving through Time and Race: Othello and The Tempest adapted for New Millennials." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14212.
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This research analyses three contemporary Shakespearean adaptations for young adults: Tracy Chevalier’s New Boy, Grace Tiffany’s Ariel and Jacqueline Carey’s Miranda and Caliban. I focus on how the concepts of time, plot and identity are treated by these authors, who adapted complex plays that deal with controversial themes, such as diverse forms of violence, for New Millennials. The first chapter represents an introduction to the importance of adaptations of Shakespeare’s works today, especially those meant for an audience of adolescents. In this section, the role of popular culture and, in particular, Young Adult literature for enriching the Shakespearean canon, the world of fanfiction as an instrument of re-creation of “performing” readers, and the educational applications and implications of rewritings are highlighted. The second chapter analyses the novels more closely with a special regard on the notions of race and equality with Othello and Caliban as two typical Shakespearean outcasts. The influence of adults in the young protagonists’ process of growth is explored. Then, a gender approach of the plays is provided with particular concerns on Miranda’s and Ariel’s socio-political significance. The third chapter discusses the changes and challenges that build the adaptation practice from play to novel; Chevalier’s, Tiffany’s and Carey’s different rhetorics of narration, their strategies of time and plot management and their critical approaches are examined.
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Windsor, Jeffrey Wayne. ""Th' offense pardons itself" : sex and the church in Othello and Measure for measure /." Diss., CLICK HERE for online access, 2006. http://contentdm.lib.byu.edu/ETD/image/etd1466.pdf.
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Büttner, Emelie. "Spilling the beans on Shakespeare : A study on how idioms are used in Othello." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-70396.
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The purpose of this paper is to investigate how idioms help the building of opposing characters in a literary work and also what similarities and differences there are in the usage of idioms between the characters. The material, i.e. the idioms, in this study was manually collected from Othello written by William Shakespeare. The material was analyzed and categorized according to a list of idiomatic properties. The material was also analyzed according to the tone of the idioms. The results showed that there was not any prominent difference in usage of idioms between the two characters; neither in general nor in the tone of the idiom. The results suggested, however, that the idioms were used in a negative sense, regardless of character.
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Christofides, R. M. "Shakespeare and equivocation : language and the doom in Hamlet, Othello, Macbeth, and King Lear." Thesis, Cardiff University, 2008. http://orca.cf.ac.uk/55788/.
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Equivocation is a condition of language that runs riot in Hamlet, Othello, Macbeth, and King Lear. Whether as ambiguity or dissimulation, equivocation propels the plots of these plays to their tragic finales. The Doom as depicted in pre-Reformation churches is invoked in the plays as a force that could end both equivocation and tragedy. However, Shakespeare withholds this divine intervention, allowing the tragedy to play out. Chapter One outlines the thesis, explains the methodological approach, and locates the thesis in relation to the major fields of Shakespeare studies. Chapter Two focuses on the equivocal position of father-and-not-father occupied by Claudius and the Ghost in Hamlet, and the memento mori imagery in the play that reminds the audience of the inevitability of death and Judgement. Chapter Three on Othello examines Iago's equivocal mode of address, a blend of equivocations and lies that aims to move Othello from a valued insider to a detested outsider in Venice. Chapter Four argues that linguistic and temporal equivocations are the condition of Macbeth, where the trace of the future invades the present and the trace of vice invades virtue. In both Othello and Macbeth, the protagonists, in their darkest moments, summon images of apocalyptic damnation. Chapter Five proposes that the language of King Lear deconstructs the opposition between Christianity and paganism, and interprets Cordelia as both Lear's poison and remedy. Furthermore, it analyses the moment when Lear enters the stage carrying Cordelia's dead body as an equivocal invocation of the Doom. The methodological approach to this thesis draws on Derrida's conception of language as differential and without access to any divine guarantees that could anchor meaning. The tragedies, then, can be understood in relation to language: they are denied the divine force that could fix, resolve, and stabilize them.
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Connelly, Daniel R. "White screen, black masks : Othello and the performativity of race on stage and screen." Thesis, University of St Andrews, 2003. http://hdl.handle.net/10023/14709.
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This thesis attempts to expose stereotypologies of black African skin as performed on the Shakespearean stage and before the Shakespearean camera. My research engages with a number of Tudor/Stuart travel narratives and plays containing imperialistic denigrations of Negritude. To accompany these early revelations of the 'unknown' black Other, I effect a close performative and historical consideration of Shakespeare's Othello (1602). By critiquing the repetitive containment of the character of Othello, the Moor, by successive theatrical ideologies, I work towards a full analysis of his twentieth-century representation on film. Here, through positioning myself within contextual, postcolonial, and methodological discourses surrounding representations of Othello by Orson Welles (1952), Stuart Burge (1965), and five other directors from 1981 to the present day, I confirm and analyse the politicisation of both genuine and masked blackness. In asserting that Welles's ninety-minute statement is powerfully emancipated from white ideological constraint, I nonetheless conclude that the Elizabethan and Jacobean tropes employed in dramatic formulations of black skin retain powerful visual significance within the contemporary film industries that interpret Shakespeare's Moor of Venice.
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Wambach, Amie Elisabeth. "Disabled Epistemologies: Failures of Knowledge and Care in Shakespeares's Merchant of Venice and Othello." BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8969.
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The presence of disabled characters like blind Gobbo in The Merchant of Venice and epileptic Othello are handy physical metaphors for the failures of epistemology that occur in both plays. Disability is often construed as a sort of saboteur of knowledge—disability of all kinds inhibiting the ability to perceive the world as an abled person would. But disability also produces a new, necessary sort of knowledge in order to survive and thrive in an unaccommodating world. A disabled epistemology suggests that knowing is contingent on individual, specific experience of the world. Tied to this issue of disabled epistemology is the issue of care—the field's emphasis on issues of relationality and reciprocity gels with disability's concerns about autonomy, self-determination, and accommodation. The ways in which care succeeds or fails informs us of the ways that disability intersects with class, race, and embodied knowledge. Gobbo is operating within a system that cares about him. Disabled beggars are subject to suspicion but expected to receive charity, and the embodied knowledge required to perform disability to an audience grants him access to that charity. On the other hand, because epilepsy and Otherness are compounded in Othello's society, to embrace embodied knowledge of his epilepsy is to become too foreign. To openly acknowledge and work with his disability would make him more socially vulnerable than he already is, but in ignoring it, Othello makes himself physically vulnerable. The dominant ideology cannot allow Othello to understand himself as disabled.
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Chahed, Lakhoua Khaoula. "Sexe et pouvoir dans les tragédies de Shakespeare : Hamlet, Othello, King Lear et Macbeth." Paris 10, 1996. http://www.theses.fr/1996PA100144.
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Cette etude se propose, a travers une combinaison d'approches theoriques, de contexte historique et d'analyse textuelle de reconstruire les quatre tragedies de shakespeare : hamlet, othello, king lear et macbeth et de decouvrir l'inconscient d'une culture qui a reprime l'authentique de l'etre, en particulier de la femme, a un point ou cette derniere a essaye d'echapper a cette culture pour decouvrir son identite. Cette recherche combine l'etude sociale et l'histoire intellectuelle de la periode shakespearienne. Elle examine comment les relations entre les sexes a une epoque de transition influencerent les themes et les structures des pieces. Ces tragedies mettent l'accent surtout sur la difficulte d'exercer le pouvoir et l'autorite a une epoque de mutations sociale, politique et ideologique, qui, avec l'apparition de l'individualisme et du scepticisme devoile un monde au statut equivoque ou la femme est tantot ange tantot demon. Avec l'apparition du puritanisme et de l'humanisme, les personnages se trouvent entre deux courants de pensee caracteristiques de l'epoque et ne savent plus s'ils doivent obeir a des principes superieurs naturels et metaphysiques ou s'affirmer en tant qu'etres independants et libres de leur destin, d'ou un etat d'ambivalence qui a caracterise et l'homme de la renaissance et les personnages shakespeariens. Tout en etudiant l'homme, la femme et le pouvoir, nous avons demontre que les techniques utilisees par le barde ont ete revelatrices puisqu'elles ont joue en faveur du personnage masculin en lui conferant un pouvoir et une certaine ascendance. Malgre cela, les personnages feminins ont prouve que le pouvoir peut changer de camp et que les roles et les craintes peuvent etre inverses. Ces tragedies revelent une preoccupation recurrente des pouvoirs feminins qui menacent l'ordre etabli et produisent une confusion des valeursThe theories, the historical and cultural context and the textual analysis, helped us to reconstruct shakespeare's tragedies : hamlet, othello, king lear and macbeth. We examined the different relations between the sexes that shakespeare depicts and the links they have with politics and power, in order to find out to whom belongs the power. We stressed the ambivalent status of male but specially fermale characters, who seem to be submissive and obedient sometimes but powerful and decision-makers at others, showing thus that the difference between the sexes is not considered as a fixed fact but rather as a changing cultural world. The stereotypes of the obedient and submissive woman and of the strong and powerful man are replaced by a blending of the roles and powers. With the appearance of puritanism and humanism which believe in free will, women discover that they can be free to choose in a world where men still compare them to objects. In these tragedies, women refuse to be silent bearers of meaning. Though often excluded or silenced by dominant linguistic strategies, we tried to read woman's voice, and through a close study of the language and the metaphors used we discovered a male character, fearing a female power, often presented as a threat. Women become the dangerous and threatening "other", the temptresses who betray men with the lure of sexual desire. They are shown as the persons who fractured the social order
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Kamenetsky, D. "A Comparison of Neural Network Architectures in Reinforcement Learning in the Game of Othello." Thesis, Honours thesis, University of Tasmania, 2005. https://eprints.utas.edu.au/252/1/dkThesis_Final_4.pdf.
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Over the past two decades, Reinforcement Learning has emerged as a promising Machine Learning technique that is capable of solving complex dynamic problems. The benefit of this technique lies in the fact that the agent learns from its experience rather than being told directly. For problems with large state-spaces, Reinforcement Learning algorithms are combined with function approximation techniques, such as neural networks. The architecture of the neural networks plays a significant role in the agent's learning. Past research has demonstrated that networks with a constructive architecture outperform those with a fixed architecture on some benchmark problems.
This study compares the performance of these two architectures in Othello - a complex deterministic board game. Three networks are used in the comparison: two with constructive architecture - Cascade and Resource Allocating Network, and one with fixed architecture - Multilayer Perceptron. Investigation is also made with respect to input representation, number of hidden nodes and other parameters used by the networks. Training is performed with both on-policy (Sarsa) and off-policy (Q-Learning) algorithms.
Results show that agents were able to learn the positional strategy (novice strategy in Othello) and could beat each of the three built-in opponents. Agents trained with Multilayer Perceptron perform better, but converge slower than those trained with Cascade.
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Aebischer, Pascale. "Representing personal violence and suffering in Shakespeare's Titus Andronicus, Romeo and Juliet, Hamlet, and Othello." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322602.
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Arvidsson, Jessica. "I frestarens grepp : En arketypanalytisk undersökning av temat manipulation med utgångspunkt i Karin Boyes Kallocain." Thesis, Högskolan i Gävle, Avdelningen för humaniora, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-14380.
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I den här uppstatsen undersöker jag temat manipulation. Jag tittar på vad det har för inverkan på berättelsers utformning samt om det finns andra teman som ofta kombineras med manipulationstemat. Min utgångspunkt är Karin Boyes Kallocain och därifrån kommer jag dra paralleller till William Shakespeares Othello och Aldous Huxleys Brave New World. Genom att vända mig till just de här två berättelserna får jag en inblick i såväl genretillhörighet som temats utveckling över tid. Uppsatsens teoretiska utgångspunkt är C.G. Jungs teori om det kollektiva omedvetna med mänskliga grundläggande urbilder som återkommer i arketyper. Resultatet är ett grundläggande händelseförlopp och en insikt om den djupare mänskliga samhörighet som berättelsernas hjältar först inte vågar tro existerar.
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滝川, 睦., and Mutsumu Takikawa. "詩神が孕む -Othelloにおける男性同士の絆-." 名古屋大学文学部, 2000. http://hdl.handle.net/2237/5526.
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Falk, Sofia. "Litteratursamtal om Tusen strålande solar och Othello : Läsarter i litteratursamtal med elever från språkintroduktion och gymnasieskolan." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-134859.
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The objective of this thesis is integrating book talks. The aim is to explore and describe which forms ofreadings of the books appear in the analyzed book talks. The content analysis is based upon soundrecordings of the book talks and the questions that provide their basis. Tengberg’s (2011) forms ofreading make up the analysis categories. Questions are: (1) Which forms of reading are expressed in thebook talks? (2) Toward which forms of reading do the questions direct the reader? (3) Which forms ofreading are most frequent in the book talks? The result show that five out of six forms of reading areactive in the book talks and that the questions direct the students towards four. Most frequent are the plotoriented and during major parts of the book talks no form of reading is active. Two complementary formsof reading and a re-evaluating of parts of the book talks are suggested.
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Omar, Lamis Ismail. "A cognitive approach to the translation of creative metaphor in Othello and Macbeth from English into Arabic." Thesis, Durham University, 2012. http://etheses.dur.ac.uk/6965/.
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Despite the intriguing nature of metaphor and its acknowledged importance in the discipline of Translation Studies (TS), a relatively small number of studies have explored the translation of metaphor from the perspective of Conceptual Metaphor Theory, and very few of them adopted an experiential approach to the object of analysis. This research aims at exploring the translatability of creative metaphor in six Arabic translations of Shakespeare’s Othello and Macbeth based on a combined methodology that adopts the Conceptual Theory of Metaphor and the descriptive approach to text analysis in TS. The empirical study argues that metaphor translatability is an experiential process that is highly influenced by the diversity and richness of our conceptual system and the background knowledge shared by the metaphor producer and metaphor translator. Discussing metaphor translatability from the perspective of these factors involves dealing with different levels of variation in our metaphoric thinking including the cultural, contextual and pragmatic levels. The analyses and discussions of the empirical study mark a departure from text-linguistic approaches to the topic in that they deal with the Source Text’s and Target Text’s metaphoric content as physically embedded conceptual models rather than linguistic patterns with grammatically delineated features and structures. The arguments of the study answer several questions with regard to researching the translation of metaphor from the perspective of Conceptual Theory, providing a detailed description of what exactly influences the process and product of translation, and underlining the functionality of the variation factor in appreciating the conceptual nature of metaphor. The results of the empirical research reveal that, although our metaphoric thinking has a universally shared metaphoric structure, not all our metaphors are translatable or translated in a single way, which refutes the supremacy of the notion of metaphor universality, putting emphasis on the factors of experientialism, exposure and intentionality.
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Okamura, Brittanee. ""Other Ways of Othering": The Subversion of Racist Motives in Excluding the Other in Othello and the Jew of Malta." Scholarship @ Claremont, 2019. https://scholarship.claremont.edu/scripps_theses/1288.
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The means by which Othello and Barabas experience their racial othering is not directly by racist intentions. In experiencing their otherness through alternative motives, they then deny the power that their excluders initially desire.
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Rafimomen, Afsaneh. "Nature et pouvoir dans les tragédies de Shakespeare, quel conflit ? : l'exemple de Hamlet, Othello, King Lear et Macbeth." Nice, 2011. http://www.theses.fr/2011NICE2012.
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Cette étude présente, dans une première partie, une réflexion sur l'idée de nature dans quatre tragédies de William Shakespeare dans la perspective d'un lien que nous établissons, dans une deuxième partie, avec l'idée fondamentale de pouvoir. L'analyse des personnages en tant qu'éléments centraux à cette tension entre les deux notions, le rappel de la façon dont Shakespeare les situe par rapport à l'une et à l'autre, nous amènent à envisager le passage de la dyade "nature/ pouvoir" à la triade "nature- homme - pouvoir" comme le ressort essentiel de la tragédie shakespearienne. Cette prise de conscience de la centralité du thème du pouvoir, qui s'articule sur la tension et non sur le parallélisme entre macrocosme et microcosme, nous a conduite à tenter de découvrir non pas comment mais pourquoi Shakespeare a semé tant d'allusions et de références à la nature dans les œuvres analysées. Nous sommes ainsi arrivée à la conclusion que le thème de la nature remplit la fonction de masque, de "décor", de "bruitage" à plusieurs autres messages et, par voie de conséquence historique, à postuler l'hypothèse de l'appartenance de Shakespeare à deux courants de pensée qui prévalaient déjà à l'époque élisabéthaine, le stéganographie et l'herméneutiqueThis study, which is centered on four tragedies by William Shakespeare, puts forward a reflection not only on the notion of nature in these plays - the object of the first part - but also on the deep-rooted problematic link which it entertains, we purport to prove, with the notion of power - the object of our second part. The analysis of the characters as central elements to this tension between the two notions, supported, as will be shown, by a reminder of the way Shakespeare situates their decisions and actions precisely in relation to nature and power, leads us to consider the passage from the nature/power dualism to the nature/man/power triad as the mainspring of Shakespearian tragedies. This realization of the central position of the theme of power which actually hinges on the tension, and not on the parallelism, between the macrocosm and the microcosm, induces us to try to find not how but why Shakespeare introduces so many allusions and references to nature. We thus come to the conclusion that nature as a theme has taken on the function of a mask, a setting, a kind of "background noise", almost acting as a cover of many other messages, so that we may eventually venture the hypothesis that Shakespeare may well belong to two trends of thought already prevailing in Elizabethan times: steganography and hermeneutics
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Evans, Judith Bruce. "The rush to knowledge perception and interpretation in Shakespeare's Much Ado About Nothing, Othello and The Winter's Tale /." Connect to Electronic Thesis (CONTENTdm), 2008. http://worldcat.org/oclc/441849997/viewonline.
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Rosario, Catherine. "Black rams and extravagant strangers : Shakespeare's Othello and its rewritings, from nineteenth-century burlesque to post-colonial tragedy." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/14856/.
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The labyrinthine levels through which Othello moves, as Shakespeare draws on myriad theatrical forms in adapting a bald little tale, gives his characters a scintillating energy, a refusal to be domesticated in language. They remain as Derridian monsters, evading any enclosures, with the tragedy teetering perilously close to farce. Because of this fragility of identity, and Shakespeare’s radical decision to have a black tragic protagonist, Othello has attracted subsequent dramatists caught in their own identity struggles. Nineteenth-century white burlesquers, anxious to bolster their sense of themselves as superior human beings in the face of abolitionist movements that insist on the inhumanity of enslaving Africans, forced the play into the shape of an unambiguous farce, where Othello is an absurd and foolish minstrel, denied the gravitas of death. Since the 1960s, writers throughout Britain’s former empire have, in contrast, retrieved the play’s tragic energy, as part of instating themselves into a history from which they have been excluded. In these later rewritings, a fault-line emerges between ‘race’ and gender, since in Othello a zero sum game operates, where increasing the empathy for Desdemona as a woman cruelly treated undermines the focus on Othello as a tragic black hero. Tragedy distances its characters from what makes us animal, and comedy delights in it, with those who are marginalised traditionally thrust into a comedic identity, while white, male abstract thought is seen as providing transcendence from our bestial state. Hence, the desire for post-colonial writers to adopt the masculine form of tragedy. However, as the value of this form of thinking has been progressively questioned, so this is changing how Othello is approached, which I reflect in my own practice: I explore, in The Turn, how tragedy gives a protagonist pathos through its aesthetic structure, but I then write a form of what I would call tragi-burlesque, Ponte Dell Tette, where I let go a little of the hegemony of the word, push against the borders of logic and linearity, try to keep the characters as untamed monsters. It is my goal to use my research and practice to help me further to walk this tightrope between the power of tragedy and the animal freedom of absurdist comedy.
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Seo, Young-Su. "Genetic and molecular basis of resistance in Phaseolus vulgaris cv. Othello to the geminivirus, Bean dwarf mosaic virus (BDMV) /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.
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Corbett, Lisa Ashley. "Male Dominance and female exploitation: A study of female Victimization in William Shakespeare's Othello, Much Ado about nothing, and Hamlet." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2009. http://digitalcommons.auctr.edu/dissertations/93.
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This study is a feminist-based reading of three of William Shakespeare’s works: Othello, Much Ado About Nothing, and Hamlet. The reading, although borrowing from the feminist perspective, is not a full-blown feminist reading of Shakespeare’s works. The focus of the study comprises the social circumstances and the misogynistic actions of the male characters and how these impact on the lives of the female characters. The relationships between the male and female characters are often characterized by physical and psychological victimization arid their feelings of misery and shame, and even total destruction of life (as in the case of Desdemona and Ophelia). The three Shakespearean plays portray male rivals who take part in significant roles that cause destruction of well established relationships. The men allow their egos to persuade their decisions, attack their internal emotions, and demolish virtuous women who are forced to become victims of political intrigues and machinations. Shakespeare shows two types of women throughout the plays: women who refuse to submit to men and demand equal rights, and submissive women who carry out the roles of an Elizabethan woman. Those who followed the roles of the Elizabethan woman, which is to be submissive to men, also demonstrate that bowing down to patriarchal rules does not guarantee happiness for women. In fact, it may actually lead to their domination and victimization. Furthermore, all female characters, whether submissive or not, suffered the consequences of male dominance and victimization. However, the females who lived up to the women roles of the patriarchal society suffered more than the women who fought against male dominance.
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Selvin, Rachel A. ""This Rough Magic:" Imagination, Resurrection, and the Dream World Crisis in Shakespearean Tragedy." Scholarship @ Claremont, 2011. http://scholarship.claremont.edu/cmc_theses/169.
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In this thesis, I explored the relationship between Shakespearean tragedy and romance, specifically how each genre treated themes regarding resurrection and the imagination. In romance, I discovered that the imagination became a portal to reality--a way through which characters understood and accepted impermanence, decay, and death. I used romance to illuminate tragedy's failures, showing that in both King Lear and Othello the imagination acts as a mask against the real. I called these imaginative spaces “dream worlds”--fantastical plains in which characters chased their impossible longings for eternity and perfected romantic love. This refusal to engage with the real, I concluded, makes resurrection impossible in tragedy. I was also deeply influenced by the criticism of Harold Goddard, who tends to read Shakespearean tragedy as romance and finds resurrection in both King Lear and Othello. I engaged with his criticism by creating the dream worlds to prove that the imagination can only act as a shield against reality in tragedy.
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Liu, Xinan. "NOVEL COMPUTATIONAL METHODS FOR SEQUENCING DATA ANALYSIS: MAPPING, QUERY, AND CLASSIFICATION." UKnowledge, 2018. https://uknowledge.uky.edu/cs_etds/63.
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Over the past decade, the evolution of next-generation sequencing technology has considerably advanced the genomics research. As a consequence, fast and accurate computational methods are needed for analyzing the large data in different applications. The research presented in this dissertation focuses on three areas: RNA-seq read mapping, large-scale data query, and metagenomics sequence classification.
A critical step of RNA-seq data analysis is to map the RNA-seq reads onto a reference genome. This dissertation presents a novel splice alignment tool, MapSplice3. It achieves high read alignment and base mapping yields and is able to detect splice junctions, gene fusions, and circular RNAs comprehensively at the same time. Based on MapSplice3, we further extend a novel lightweight approach called iMapSplice that enables personalized mRNA transcriptional profiling. As huge amount of RNA-seq has been shared through public datasets, it provides invaluable resources for researchers to test hypotheses by reusing existing datasets. To meet the needs of efficiently querying large-scale sequencing data, a novel method, called SeqOthello, has been developed. It is able to efficiently query sequence k-mers against large-scale datasets and finally determines the existence of the given sequence. Metagenomics studies often generate tens of millions of reads to capture the presence of microbial organisms. Thus efficient and accurate algorithms are in high demand. In this dissertation, we introduce MetaOthello, a probabilistic hashing classifier for metagenomic sequences. It supports efficient query of a taxon using its k-mer signatures.
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Bauer, Sabine C. "'Speak of me as I am' : British politics of race and portrayals of Othello in criticism and on stage, 1603-1993." Thesis, University of Birmingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416758.
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Prytz, Ann-Louise. "Den älskande kvinnan i Shakespeares dramatik : En dramatikanalys av dramerna Othello och Romeo och Juliet med fokus på Desdemona och Juliet." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-39171.
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The essay The loving women in Shakespeare’s dramas is based on the fact that the dramas are performed circa 400 years after they were written. That makes it intresting to examine the caractars, and especially the female parts, and particularly the loving woman. To fulfill that, I have inquired Desdemona in Othello and Juliet in Romeo and Juliet. I have used eight parts of the drama analysis modelled by Birthe Sjöberg as the main research methode. The scientific aim is to investigate the loving woman in two plays of Shakespeas dramaproduction, Othello and Romeo and Juliet. The question at issue is, how does the female parts in Shakespeare’s tragedies looks like when it comes to the loving woman? The research questions are – how are Juliet and Desdemona allowed to act? How does their love look like? How do they act? How are they as persons? What are important for them? When you investigate Juliet and Desdemona, you reach their husbands as well, so they become a part of the analysis. Are Juliet and Desdemona shaped by conventions, free will or by nature? These questions are discussed with help of Judith Butler’s theory of socialconstructivism. Desdemona and Juliet are both very loving and free to act. Both are very beautiful and Desdemona is much appreciated as a person. Desdemona is happily married until Jago enters the scene and demands revenge because of a post he didn’t get. Romeo and Juliet are happy together but theire families destroy for them. Desdemona and Juliet are shaped by their genus that their surroundings force upon them. Both women act upon the constraints they face. Desdemona trys to obey and Juliet plays dead to escape the marriage with Paris. The analysis shows that the female part is oppressed by the culture of honour and by social circumstances as the family feud in Romeo and Juliet. Love does not survive and triumph over oppression. The patriarchate wins over emancipation, especially in Othello. Desdemona is strangled by her husband Othello and therefor she is a victim of patriarchate. The men also suffer from the patriarchate, their love can’t be free and they also die in the end.
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Scott, Lindsey A. "Caught between presence and absence : Shakespeare's tragic women on film." Thesis, University of Chester, 2008. http://hdl.handle.net/10034/100153.
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In offering readings of Shakespeare’s tragic women on film, this thesis explores bodies that are caught between signifiers of absence and presence: the woman’s body that is present with absent body parts; the woman’s body that is spoken about or alluded to when absent from view; the woman’s living body that appears as a corpse; the woman’s body that must be exposed and concealed from sight. These are bodies that appear on the borderline of meaning, that open up a marginal or liminal space of investigation. In concentrating on a state of ‘betweenness’, I am seeking to offer new interpretive possibilities for bodies that have become the site of much critical anxiety, and bodies that, due to their own peculiar liminality, have so far been critically ignored. In reading Shakespeare’s tragic women on film, I am interested specifically in screen representations of Gertrude’s sexualised body that is both absent and present in Shakespeare’s Hamlet; Desdemona’s (un)chaste body that is both exposed and concealed in film adaptations of Othello; Juliet’s ‘living corpse’ that represents life and death in Shakespeare’s Romeo and Juliet; the woman’s naked body in Roman Polanski’s Macbeth (1971) that is absent from Shakespeare’s play-text; and Lavinia’s violated, dismembered body in Julie Taymor’s (Titus, 1999) and Titus Andronicus, which, in signifying both life and death, wholeness and fragmentation, absence and presence, something and nothing, embodies many of the paradoxes explored within this thesis. Through readings that demonstrate a combined interest in Shakespeare’s plays, Shakespeare films, and Shakespeare criticism, this thesis brings these liminal bodies into focus, revealing how an understanding of their ‘absent presence’ can affect our responses as spectators of Shakespeare’s tragedies on film.