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.

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.

In 1604, James had newly ascended to the throne and England was now part of Great Britain. The Puritans-largely silenced during Elizabeth's reign-began again to assert political influence and call for reformation to both the state and the church. This is the context in which Shakespeare wrote Othello and Measure for Measure. In both plays, the role of the government in Cyprus or Vienna hinges upon the passions of a single authority figure. Both Angelo and Othello cause political unrest because they mismanage sexuality. In the case of Othello, his unfounded sexual jealousy leads to the death of Desdemona, Emilia, and himself. In Measure for Measure, Angelo's unbending literal interpretation of law threatens the life of Claudio, and his newly awakened lust threatens the virtue of Isabella. Both Othello and Angelo, through their self-government and sexual management, put those around them at risk. My study uses the techniques of New Historicism to contextualize Othello and Measure for Measure in terms of both sexuality and religion. I intentionally avoid the typical Marxist perspective of New Historicism and instead focus on religion as itself an organizing and motivational principle. This thesis examines these two plays together because of their chronological synchronicity and their thematic unity. Looking at Othello and Measure for Measure together provides a somber look at the attitudes toward sexual transgression and the role of the church in 1604. The quandaries raised in Othello are highlighted in Measure for Measure, but also resolved. Through the Duke's labors as the church-masquerading state, Measure for Measure discovers societal stability through the institutional church.

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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No description available.

By examining the critical comment of some of the best known critics, who fall roughly into two groups, the philosophical or psychological on the one hand, and the realistic on the other, I have endeavored to gather the ideas they have advanced in regard to the motives of them main characters from three of Shakespeare's tragedies--Othello, King Lear, and Macbeth. It is evident that the discussion of motives has not been the main consideration of any one of them, though the problem has naturally arisen in the analyses of characters and explanations of plot and dramatic art. Consequently it will be my purpose to study these plays from the standpoint of the motivation of the characters, having in mind two objects: the determination of which motives Shakespeare took from the sources of the plays and which ones he himself attributed to the characters, and the determination of which group of critics, the psychological or the realistic, is more nearly correct in their contentions in regard to the motivation of characters in Shakespeare's plays.

[pt] O objetivo desta dissertação é analisar o tratamento dado pelas traduções brasileiras aos personagens negros na obra de William Shakespeare: o Príncipe de Marrocos em O mercador de Veneza, Aarão em Tito Andrônico e Otelo na tragédia homônima. O estudo parte dos pressupostos de que o preconceito racial é uma construção ideológica que se dá pela via do discurso e de que a tradução, como uma modalidade discursiva, pode desempenhar um papel na reprodução de ideologias. O estudo desenvolveu-se em três etapas: (i) identificação de ocorrências de discurso racista no texto-fonte; (ii) localização, nos textos-alvo, das traduções de cada possível afirmação racista previamente identificada; (iii) análise das soluções tradutórias observadas e os efeitos gerais que estas provocaram nos diferentes produtos finais, a fim de verificar em que medida as versões acabam por reconstruir, intensificar ou atenuar o preconceito percebido na obra original. O corpus de análise é constituído por The Merchant of Venice, juntamente com três traduções brasileiras, feitas por Carlos Alberto Nunes, Cunha Medeiros/Oscar Mendes, e Barbara Heliodora; Titus Andronicus, e as versões brasileiras realizadas pelos mesmos tradutores; e Othello, nas traduções de Onestaldo de Pennafort, Carlos Alberto Nunes, Cunha Medeiros/Oscar Mendes, Péricles Eugênio da Silva Ramos, Barbara Heliodora, Beatriz Viegas-Faria e Jean Melville. / [en] The purpose of this thesis is to examine how Brazilian translations deal with Shakespeare`s black male characters: The Prince of Morocco in The Merchant of Venice, Aaron in Titus Andronicus and Othello. The study is based on the assumption that racial prejudice is an ideological construct, mediated by language, and that translation as a discursive mode may play an important role in the reproduction of ideology. The research was conducted in three steps: (i) identification of instances of racist discourse in the source text; (ii) identification in the target text of the translated instances of such racist discourse; (iii) analysis of these translations and the general effect they may have on the different end products, so as to verify whether the Brazilian versions reconstruct, intensify or mitigate the prejudice identified in the original work. The plays examined were The Merchant of Venice, and three Brazilian translations by Carlos Alberto Nunes, Cunha Medeiros/Oscar Mendes, and Barbara Heliodora; Titus Andronicus, in renderings by these same translators; and Othello, as translated by Onestaldo de Pennafort, Carlos Alberto Nunes, Cunha Medeiros/Oscar Mendes, Péricles Eugênio da Silva Ramos, Barbara Heliodora, Beatriz Viegas- Faria, and Jean Melville.

Systems that process big data (e.g., high-traffic networks and large-scale storage) prefer data structures and algorithms with small memory and fast processing speed. Efficient and fast algorithms play an essential role in system design, despite the improvement of hardware. This dissertation is organized around a novel algorithm called Othello Hashing. Othello Hashing supports ultra-fast and memory-efficient key-value lookup, and it fits the requirements of the core algorithms of many large-scale systems and big data applications. Using Othello hashing, combined with domain expertise in cloud, computer networks, big data, and bioinformatics, I developed the following applications that resolve several major challenges in the area. Concise: Forwarding Information Base. A Forwarding Information Base is a data structure used by the data plane of a forwarding device to determine the proper forwarding actions for packets. The polymorphic property of Othello Hashing the separation of its query and control functionalities, which is a perfect match to the programmable networks such as Software Defined Networks. Using Othello Hashing, we built a fast and scalable FIB named \textit{Concise}. Extensive evaluation results on three different platforms show that Concise outperforms other FIB designs. SDLB: Cloud Load Balancer. In a cloud network, the layer-4 load balancer servers is a device that acts as a reverse proxy and distributes network or application traffic across a number of servers. We built a software load balancer with Othello Hashing techniques named SDLB. SDLB is able to accomplish two functionalities of the SDLB using one Othello query: to find the designated server for packets of ongoing sessions and to distribute new or session-free packets. MetaOthello: Taxonomic Classification of Metagenomic Sequences. Metagenomic read classification is a critical step in the identification and quantification of microbial species sampled by high-throughput sequencing. Due to the growing popularity of metagenomic data in both basic science and clinical applications, as well as the increasing volume of data being generated, efficient and accurate algorithms are in high demand. We built a system to support efficient classification of taxonomic sequences using its k-mer signatures. SeqOthello: RNA-seq Sequence Search Engine. Advances in the study of functional genomics produced a vast supply of RNA-seq datasets. However, how to quickly query and extract information from sequencing resources remains a challenging problem and has been the bottleneck for the broader dissemination of sequencing efforts. The challenge resides in both the sheer volume of the data and its nature of unstructured representation. Using the Othello Hashing techniques, we built the SeqOthello sequence search engine. SeqOthello is a reference-free, alignment-free, and parameter-free sequence search system that supports arbitrary sequence query against large collections of RNA-seq experiments, which enables large-scale integrative studies using sequence-level data.

<p>Att "smarta" brädspelande datorprogram har blivit mycket bättre under de senaste årtiondena har väl knappast kunnat undgå någon. Med brädspel menar jag spel såsom Go, Othello, Backgammon och Schack. Idag spelar program, som körs på en reguljär PC, bättre än de flesta människor. Vad är det som gör dessa program så bra? Hur kan man lära en dator att spela ett så pass komplext spel som Othello på en sådan nivå att ingen människa har en chans att vinna? I detta examensarbete kommer jag att försöka förklara mekanismerna bakom ett toppspelande Othelloprogram. Jag har dessutom implementerat ett eget Othellospelande program som jag använt som testapplikation för att prova olika sökmetoder, metoder för att öka exekveringshastigheten och tekniker för att öka spelskickligheten. Jag kommer att presentera empiriska data där jag utvärderar och jämför flera andra program med mitt eget.</p>