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Tytuł:
“All is true that is mistrusted”: a pragmatic study of jealousy in William Shakespeare’s Othello and The winter’s tale
Autorzy:
Kizelbach, U.
Powiązania:
https://bibliotekanauki.pl/articles/577181.pdf
Data publikacji:
2013
Wydawca:
Polska Akademia Nauk. Czytelnia Czasopism PAN
Opis:
False or “mad” jealousy is the central theme in William Shakespeare’s Othello and The Winter’s Tale. Both Othello and Leontes, the protagonists of the plays, seem to have great diffi culties distinguishing between the surface of things (or what they see) and the truth. Both can be classified as tragic figures as they both commit an error of judgment – due to a flaw in their nature (be it self-love or suspiciousness) they misjudge a key situation and are easily led astray. In fact, dramatic irony, which is evidently present in the plays, can be exemplified by a pragmatic analysis of these two texts. It is interesting to observe that both characters are focused on saving face in front of others, not only to avoid criticism by the society (Leontes) but also to be each able to cope with their wife’s supposed betrayal (Othello). Pragmatics helps establish the causes of the characters’ tragedy: Othello’s false jealousy is conceived by Iago’s infelicitous speech acts and develops only because Othello is unable to grasp Iago’s real intention in communication. On the other hand, Leontes in his obsession is looking for hidden meanings in things just to prove that he is right; his verbal behaviour abounds in examples of self-deceit. The aim of this article is to define jealousy in pragmatic terms, using the speech act theory, felicity conditions, conceptual metaphor, and face.
Źródło:
Linguistica Silesiana; 2013, 34
0208-4228
Pojawia się w:
Linguistica Silesiana
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“Far more fair than black”: Othellos on the Chilean Stage
Autorzy:
Baldwin Lind, Paula
Powiązania:
https://bibliotekanauki.pl/articles/1033511.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Othello
Chilean theatre
blackface
Moor
Other
Opis:
This article reviews part of the stage history of Shakespeare’s Othello in Chile and, in particular, it focuses on two performances of the play: the first, in 1818, and the last one in 2012-2020. By comparing both productions, I aim to establish the exact date and theatrical context of the first Chilean staging of the Shakespearean tragedy using historical sources and English travellers’ records, as well as to explore how the representation of a Moor and of blackness onstage evolved both in its visual dimension — the choice of costumes and the use of blackface—, and in its racial connotations alongside deep social changes. During the nineteenth century Othello became one of the most popular plays in Chile, being performed eleven times in the period of 31 years, a success that also occurred in Spain between 1802 and 1833. The early development of Chilean theatre was very much influenced not only by the ideas of the Spaniards who arrived in the country, but also by the available Spanish translations of Shakespeare; therefore, I argue that the first performances of Othello as Other — different in origin and in skin colour — were characterised by an imitative style, since actors repeated onstage the biased image of Moors that Spaniards had brought to Chile. While the assessment of Othello and race is not new, this article contrasts in its scope, as I do not discuss the protagonist’s actual origin, but how the changes in Chilean social and cultural contexts can reshape and reconfigure the performance of blackness and turn it into a meaningful translation of the Shakespearean Moor that activates audiences’ awareness of racism and fears of miscegenation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 139-170
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
“I saw Othello’s visage in his mind”, or “White Mask, Black Handkerchif”: Satoshi Miyagi’s Mugen-Noh Othello and Translation Theory
Autorzy:
Motohashi, Ted
Powiązania:
https://bibliotekanauki.pl/articles/648158.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
translation
Shakespeare
Mugen-Noh
Desdemona
Othello
Opis:
This paper tries to detect key elements in the translated performance of Shakespeare by focusing on Satoshi Miyagi’s “Mugen-Noh Othello” (literally meaning “Dreamy Illusion Noh play Othello”), first performed in Tokyo by Ku=Nauka Theatre Company in 2005, and subsequently seen in New Delhi, having now acquired a classic status of renowned Shakespearean adaptation in a foreign language that bridges a gap between the traditional form of Noh and the modern stage-presentation.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 43-50
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Brown, Never Black: Othello on the Nazi Stage
Autorzy:
Bassey, Alessandra
Powiązania:
https://bibliotekanauki.pl/articles/1033519.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
Nazi Germany
Nazi Shakespeare
Blackface
Race
Representation
Shakespeare Production
Global Shakespeare
German Shakespeare
Theatre History
Opis:
This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 51-65
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Cefalu, Paul. Tragic Cognition in Shakespeare’s Othello: Beyond the Neural Sublime. London and New York: Bloomsbury, 2015. Pp. viii + 124. ISBN: 978-1-4725-2346-4
Autorzy:
Hui, Baisali
Powiązania:
https://bibliotekanauki.pl/articles/960539.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 13; 131-136
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"
Autorzy:
Laskowska-Hinz, Sabina
Powiązania:
https://bibliotekanauki.pl/articles/1033498.pdf
Data publikacji:
2020-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Desdemona
William Shakespeare
Othello
Marian Nowiński
Shakespeare in visual arts
Opis:
The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli in designing the figure of Desdemona as a goddess.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 21, 36; 135-151
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Epitomes of Dacia: Wallachia, Moldavia, and Transylvania in Early Modern English Travelogues
Autorzy:
Matei-Chesnoiu, Monica
Powiązania:
https://bibliotekanauki.pl/articles/39760090.pdf
Data publikacji:
2022
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
early modern English geography
'The Merchant of Venice'
'Othello'
'Pericles'
Shakespeare
travelogues
Opis:
This essay examines the kaleidoscopic and abridged perspectives on three early modern principalities (Wallachia, Moldavia, and Transylvania), whose lands are now part of modern-day Romania. I examine travelogues and geography texts describing these Eastern European territories written by Marco Polo (1579), Abraham Ortelius (1601; 1608), Nicolas de Nicolay (1585), Johannes Boemus (1611), Pierre d’Avity (1615), Francisco Guicciardini (1595), George Abbot (1599), Uberto Foglietta (1600), William Biddulph (1609), Richard Hakluyt (1599-1600), Fynes Moryson (1617), and Sir Henry Blount (1636), published in England in the period 1579-1636. The essay also offers brief incursions into the representations of these geographic spaces in a number of Shakespearean plays, such as The Merchant of Venice and Othello, as well as in Pericles, Prince of Tyre by Shakespeare and Wilkins. I argue that these Eastern European locations configure an erratic spatiality that conflates ancient place names with early modern ones, as they reconstruct a space-time continuum that is neither real nor totally imaginary. These territories represent real-and-fictional locations, shaping an ever-changing world of spatial networks reconstructed out of fragments of cultural geographic and ethnographic data. The travel and geographic narratives are marked by a particular kind of literariness, suggesting dissension, confusion, and political uncertainty to the early modern English imagination.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2022, 25, 40; 151-163
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination
Autorzy:
Khomenko, Natalia
Powiązania:
https://bibliotekanauki.pl/articles/1812145.pdf
Data publikacji:
2021-06-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
blackface
Russian theatre
Russian film
Soviet theatre
Soviet film
adaptation
translation
Sergei Iutkevich
Eldar Riazanov
Aleksei Zernov
Nikolai Koliada
Petr Gladilin
Vahram Papazian
Opis:
Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2021, 23, 38; 75-89
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
How Should You Perform and Watch Othello and Hairspray in a Country Where You Could Never Hire Black Actors? Shakespeare and Casting in Japan
Autorzy:
Sae, Kitamura
Powiązania:
https://bibliotekanauki.pl/articles/1033515.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Japan
Blackface
Othello
Hairspray
Memphis
Ainu
Fandom
Social media
Opis:
This paper discusses how Japanese theatres have handled race in a country where hiring black actors to perform Shakespeare’s plays is not an option. In English-speaking regions, such as the United States and the United Kingdom, it is common to hire a black actor for Othello’s title role. Blackface is increasingly unacceptable because it reminds viewers of derogatory stereotypes in minstrel shows, and it deprives black actors of employment opportunities. However, the situation is different in regions where viewers are unfamiliar with this Anglo-US trend. In Japan, a country regarded as so homogeneous that its census does not have any questions about ethnicity, it is almost impossible to hire a skilled black actor to play a title role in a Shakespearean play, and few theatre companies would consider such an idea. In this cultural context, there is an underlying question of how Japanese-speaking theatre should present plays dealing with racial or cultural differences. This paper seeks to understand the recent approaches that Japanese theatre has adopted to address race in Shakespearean plays by analysing several productions of Othello and comparing them with other major non-Shakespearean productions.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 87-101
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Interpreting Othello in the Arabian Gulf: Shakespeare in a Time of Blackface Controversies
Autorzy:
Hennessey, Katherine
Powiązania:
https://bibliotekanauki.pl/articles/1033514.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Shakespeare
Othello
Antara Ibn Shaddad
blackface
Arab blackface
Kuwait
Egypt
Arab/ic film and theatre
Arabian Gulf
Opis:
This article opens with some brief observations on the phenomenon of Arab blackface—that is, of Arab actors “blacking up” to impersonate black Arab or African characters—from classic cinematic portrayals of the warrior-poet Antara Ibn Shaddad to more recent deployments of blackface in the Arab entertainment industry. It then explores the complex nexus of race, gender, citizenship and social status in the Arabian Gulf as context for a critical reflection on the author’s experience of reading and discussing Othello with students at the American University of Kuwait—discussions which took place in the fall of 2019, in the midst of a wave of controversies sparked by instances of Arab blackface on television and in social media.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 103-123
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Learning board evaluation function for Othello by hybridizing coevolution with temporal difference learning
Autorzy:
Szubert, M.
Jaśkowski, W.
Krawiec, K.
Powiązania:
https://bibliotekanauki.pl/articles/206175.pdf
Data publikacji:
2011
Wydawca:
Polska Akademia Nauk. Instytut Badań Systemowych PAN
Tematy:
evolutionary computation
coevolutionary algorithms
reinforcement learning
memetic computing
game strategy learning
Opis:
Hybridization of global and local search techniques has already produced promising results in the fields of optimization and machine learning. It is commonly presumed that approaches employing this idea, like memetic algorithms combining evolutionary algorithms and local search, benefit from complementarity of constituent methods and maintain the right balance between exploration and exploitation of the search space. While such extensions of evolutionary algorithms have been intensively studied, hybrids of local search with coevolutionary algorithms have not received much attention. In this paper we attempt to fill this gap by presenting Coevolutionary Temporal Difference Learning (CTDL) that works by interlacing global search provided by competitive coevolution and local search by means of temporal difference learning. We verify CTDL by applying it to the board game of Othello, where it learns board evaluation functions represented by a linear architecture of weighted piece counter. The results of a computational experiment show CTDL superiority compared to coevolutionary algorithm and temporal difference learning alone, both in terms of performance of elaborated strategies and computational cost. To further exploit CTDL potential, we extend it by an archive that keeps track of selected well-performing solutions found so far and uses them to improve search convergence. The overall conclusion is that the fusion of various forms of coevolution with a gradient-based local search can be highly beneficial and deserves further study.
Źródło:
Control and Cybernetics; 2011, 40, 3; 805-831
0324-8569
Pojawia się w:
Control and Cybernetics
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Noh Creation of Shakespeare
Autorzy:
Munakata, Kuniyodhi
Powiązania:
https://bibliotekanauki.pl/articles/648142.pdf
Data publikacji:
2016
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Noh
Noh Shakespeare
Zen
Hamlet
Othello
Macbeth
King Lear
Cordelia
Madam Reiko ADACHI
Kuniyoshi Munakata UEDA
Opis:
This article contains select comments and reviews on Noh Hamlet and Noh Othello in English and Noh King Lear in Japanese. The scripts from these performances were arranged based on Shakespeare’s originals and directed on stage and performed in English by Kuniyoshi Munakata from the early 1980s until 2014. Also, the whole text of Munakata’s Noh Macbeth in English (Munakata himself acted as Macbeth and Lady Macbeth in one play) is for the first time publicized. The writers of the comments and reviews include notable people such as John Fraser, Michael Barrett, Upton Murakami, Donald Richie, Rick Ansorg, James David Audlin, Jesper Keller, Jean-Claude Saint-Marc, Jean-Claude Baumier, Judy Kendall, Allan Owen, Yoshio ARAI, Yasumasa OKAMOTO, Tatsuhiko TAIRA, Hikaru ENDO, Kazumi YAMAGATA, Hanako ENDO, Yoshiko KAWACHI, Mari Boyd, and Daniel Gallimore.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2016, 14, 29; 87-106
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Othello and the Ambivalences of Italian Blackface
Autorzy:
Bassi, Shaul
Scego, Igiaba
Powiązania:
https://bibliotekanauki.pl/articles/1033517.pdf
Data publikacji:
2020-12-30
Wydawca:
Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
Tematy:
Othello
Shakespeare in Italy
blackface
colonialism
postcolonialism
fascism
film
adaptations
popular culture
Opis:
Blackface is a cultural practice that appears ubiquitously in Italian history cutting across the political spectrum; it also lends itself to suprising anti-racist actions. This essay examines the use of blackface from the nineteenth to the twenty-first century by looking at its appearance in popular culture and, contextually and dialectically, at its adoption in selected performances of Othello, a play that holds special meaning in Italy because of its famous operatic adaptations. Africa and blackness were often represented in Italian visual arts in the early modern period, but the early colonial ventures of the new independent Italy create a new exotic imaginary that is particularly manifest in popular culture. Othello is influenced by new African discourses but it allso exists in a parallel dimension that somehow resists facile political interpretations. The colonial ventures of post-unification and Fascist Italy do not reverberate in any predictable manner in the growing popularity of the play. After World War II new forms of exoticism emerge that will be subverted only by a new postcolonial scenario that also coincides with a re-emergence of racism. Against the respective historical backdrops, we examine the idiosyncratic versions of blackface by Tommaso Salvini, Pietro Sharoff, Pier Paolo Pasolini, Carmelo Bene, and Elio De Capitani to suggest continuities and discontinuities in Italian interpretations of Othello.
Źródło:
Multicultural Shakespeare: Translation, Appropriation and Performance; 2020, 22, 37; 67-85
2083-8530
2300-7605
Pojawia się w:
Multicultural Shakespeare: Translation, Appropriation and Performance
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Othello and the Gaze of the Other
Autorzy:
Roohollah, Roozbeh
Powiązania:
https://bibliotekanauki.pl/articles/1178803.pdf
Data publikacji:
2017
Wydawca:
Przedsiębiorstwo Wydawnictw Naukowych Darwin / Scientific Publishing House DARWIN
Tematy:
Othello
discourse
gaze
master
other
Opis:
This article reads Othello through the discourse of cultural materialism. To do so, the writer’s discourse therefore, becomes that of the hysterical discourse going against the dominant discourse of the work. Cultural materialism borrows the ideas of many critics in order to study canonical works against the grain. Thus, this article uses cultural materialism in order to read Othello against the grain. To read it so requires resisting or hystericising the dominant discourse and worldview and shifting sympathy. The gaze of Othello signifies how psychologically the white society looked at him and how the white society considered him. Othello is Moorish and hence an Arab in Europe, manifestly calling to mind all the multifaceted confrontations and conflicts of Self/Other in a framework of power struggle. He is a non-western protagonist whose wife, a European equals Othello’s tribe. Othello is an odd-one-out protagonist whose wife, Desdemona, is referred to as a pearl. This pearl calls for the fact that Othello be black in order to be inferior to her. The white Desdemona is an angel while the black Othello is a monster creating a binary opposition of angel and evil. The play depicts Othello as a loser and Desdemona as a winner making the audience identify with the winner. It makes Othello a type, the type of people who are horrible, treacherous, illogical, bestial and demonic. Desdemona also becomes a type, the type of people who are self, angelic and master. Practically Shakespeare lets Othello confess to his irrationality and inferiority.
Źródło:
World Scientific News; 2017, 90; 166-176
2392-2192
Pojawia się w:
World Scientific News
Dostawca treści:
Biblioteka Nauki
Artykuł
Tytuł:
Othello as a Tragedy of Interpretive Models
Otello jako tragedia modeli interpretacyjnych
Autorzy:
Zouidi, Nizar
Powiązania:
https://bibliotekanauki.pl/articles/579079.pdf
Data publikacji:
2015
Wydawca:
Łódzkie Towarzystwo Naukowe
Tematy:
Umberto Eco
Dictionary model
Encyclopedia model
Warrior
Janus
Interpretation
Self-image
Umbero Eco
model słownika
model encyklopedii
wojownik
interpretacja
wizerunek własny
Opis:
This article argues that Othello dramatizes the struggle between two characters to control the interpretive possibilities of their world. These two characters are Othello and Iago. They both try to bring the inherent polysemy of the play under their control. This enables them to control the destiny of the other characters and their actions. The play cannot have two dominant interpreters. This is why the general and his ancient can only vie for supremacy. Each of them is ready to destroy anyone – including himself – to win over the other. To explain their strategies, I will make use of certain terms invented by the Italian semiotician Umberto Eco. Eco’s semiotic categories will help us highlight the way in which Iago and Othello direct the processes whereby the different elements of drama are imbued with signification.
Artykuł ten dowodzi, że Otello dramatyzuje walkę między dwoma bohaterami o kontrolę interpretacyjnych możliwości świata, w którym funkcjonują. Te dwie postacie to Otello i Jago. Obaj starają się opanować wewnętrzną wieloznaczność spektaklu i pokierować ją w pożądanym przez każdego z nich kierunku. To pozwala im kontrolować losy pozostałych bohaterów i ich czyny. Spektakl nie można mieć jednak dwóch dominujących interpretatorów. To dlatego mogą oni rywalizować tylko o władzę. Każdy z nich jest gotów zniszczyć dowolną postać - w tym samego siebie - by tylko odnieść zwycięstwo nad swym oponentem. Aby wyjaśnić swoje strategie, będę korzystać z niektórych kategorii opracowanych przez włoskiego semiotyka Umberta Eco. Semiotyczne kategorie Eco pomagają czytelnikowi podkreślić, w jaki sposób Jago i Otello kierują procesami, w ramach których elementy dramatu nabierają znaczenia.
Źródło:
Zagadnienia Rodzajów Literackich; 2015, 58/115 z. 1; 99-110
0084-4446
Pojawia się w:
Zagadnienia Rodzajów Literackich
Dostawca treści:
Biblioteka Nauki
Artykuł
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