Home > Shakespearean Criticism > Othello (Vol. 68) - Copyright Page

Project Editor

COPYRIGHTED MATERIAL IN SC, VOLUME 68, WAS REPRODUCED FROM THE FOLLOWING PERIODICALS:

Cahiers Élisabéthains, October, 1982. All rights reserved. Reproduced by permission of the publisher.—CLIO, v. 22, Spring, 1993 for “Race and the Spectacle of the Monstrous in Othello,” by James R. Aubrey. Copyright © 1993 by Robert

H. Canary and Henry Kozicki. Reproduced by permission.—Comparative Literature Studies, v. 29, 1992. Copyright © 1992 by The Pennsylvania State University. Reproduced by permission of the publisher.—English Literary Renaissance, v. 1, Spring, 1971; v. 8, Winter, 1978. Copyright © 1971, 1978 by English Literary Renaissance. Reproduced by permission.—English Studies, v. 45, 1964. Copyright © 1964 by Swets & Zeitlinger. Reproduced by permission.—Essays in Criticism, v. 3, April, 1981. Reproduced by permission of the Editors of Essays in Criticism and the author.—Interpretation: A Journal of Political Philosophy, v. 9, September, 1981. Copyright © 1981 by Interpretation. Reproduced by permission of the publisher.—Journal of English and Germanic Philology, v. 100, January, 2001 for “Illegitimate Subjects: Performing Bastardy in King John,” by James P. Saeger. Copyright © 2001 by the Board of Trustees of the University of Illinois. Reproduced by permission of the publisher and the author.—New Theatre Quarterly, v. 15, May, 1999. For “Revisioning the Woman’s Part: Paula Vogel’s Desdemona,” by Sharon Friedman. Copyright © 1999 by the author. Reproduced by permission of the author.—Rolling Stone, September 13, 2001. Copyright © 2001 by Straight Arrow Publishers, Inc. All rights reserved. Reproduced by permission.—Shakespeare Quarterly, v. 40, Fall, 1989; v. 44, Fall, 1993; v. 51, Summer, 2000. Copyright © The Johns Hopkins University Press. Reproduced by permission.—Shakespeare Studies, v. 9, 1976; vol. 11, 1978; v. 19, 1987. Copyright © 1976, 1978, 1987 by Associated University Presses. Reproduced by permission.—Shakespeare Survey, v. 42, 1990. Copyright © 1990 by Cambridge University Press. Reproduced by permission of Cambridge University Press.—Studies in English Literature, v. 25, Spring, 1985; v. 34, Spring, 1994; v. 41, Spring, 2001. Copyright 1985, 1994, 2001 Copyright © The Johns Hopkins University Press. Reproduced by permission.—Tennessee Studies in Literature, vol. 24, 1979. Copyright © 1979 by The University of Tennessee Press. Reproduced by permission of The University of Tennessee Press.—Texas Studies in Literature and Language, v. 16, Spring, 1974 for “The Device of Wonder,” by Lawrence N. Danson. Copyright © 1974 by University of Texas Press. Reproduced by permission of the publisher and the author.—The New York Times, September 9, 1993; February 5, 1999. Copyright © 1993, 1999 by The New York Times Company. Reproduced by permission.—Tulane Studies in English, v. XVII, 1969, pp. 53-72. Copyright © 1969 by Tulane University. Reprinted by permission.—Variety, v. 379, July 10, 2000; v. 383, June 11, 2001. Copyright © 2000, 2001 by Cahners Business Information. Reproduced by permission.

COPYRIGHTED MATERIAL IN SC, VOLUME 68, WAS REPRODUCED FROM THE FOLLOWING BOOKS:

Bieman, Elizabeth. From William Shakespeare: The Romances. Twayne Publishers, 1990. Copyright © Elizabeth Bieman 1990. Reproduced with the permission of Macmillan Library Reference USA, a division of Ahsuog, Inc.—Black, James. From “Shakespeare and the Comedy of Revenge,” in Comparative Critical Approaches to Renaissance Comedy. Edited by Donald Beecher and Massimo Ciavolella. Dovehouse Editions, 1986. Copyright © Donald Beecher and Massimo Ciaovolella 1986. All rights reserved. Reproduced by permission of the publisher.—Blanpied, John W. From “Stalking ‘Strong Possession’ in King John,”in Time and the Artist in Shakespeare’s English Histories. Newark University Press, 1983. Copyright © 1983 by John W. Blanpied. All rights reserved. Reprinted by permission of Associated University Presses.— Buchanan, Judith. From “Virgin and Ape, Venetian and Infidel: Labellings of Otherness in Oliver Parker’s Othello,”in Shakespeare, Film, Fin de Siècle. Edited by Mark Thorton Burnett and Ramona Wray. Macmillan Press, 2000. Copyright © Mark Thornton Burnett and Ramona Wray 2000. All rights reserved. Reproduced by permission of Macmillan, London and Basingstoke.—Cutts, John P. From Rich and Strange: A Study of Shakespeare’s Last Plays. Washington State University Press, 1968. Copyright © John P. Cutts 1968. All rights reserved. Reproduced by permission.—Eastman, Arthur

M. From “Othello as Ironist,” in In Honor of Austin Wright. Carnegie Series in English, 1972. Copyright © 1972 by Arthur M. Eastman. Reproduced by permission of the Carnegie-Mellon University Press.—Hallett, Charles A. and Elaine

S. From The Revenger’s Madness: A Study of Revenge Tragedy Motifs. University of Nebraska Press, 1980. Copyright © The University of Nebraska Press 1980. Reproduced by permission.—Hunter, G. K. From “Othello and Colour Prejudice,” in Proceedings of the British Academy, Volume LIII, 1967. Oxford University Press, London, 1968. Copyright © British Academy 1968. Reproduced by permission.—Levin, Carole. From “‘I Trust I May Not Trust Thee’: Women Visions of the World in Shakespeare’s King John,”in Ambiguous Realities: Women in the Middle Ages and Renaissance. Edited by Carole Levin and Jeanie Watson. Copyright © 1987, Wayne State University Press. Reproduced by permission of the publisher.—Madelaine, Richard. From “Putting out the Light: A ‘Snuff’ Variant?,” in Shakespeare: Readers, Audiences, Players. Edited by R. S. White, Charles Edelman, and Christopher Wortham. University of Western Australia Press, 1998. Copyright © R. S. White, Charles Edelman, and Christopher Wortham 1998. All rights reserved. Reproduced by permission of the author.—Neely, Carol Thomas. From “Women and Men in Othello,”in Broken Nuptials in Shakespeare’s Plays. University of Illinois Press, 1993. Copyright © 1993 by Carol Thomas Neely. All rights reserved. Reproduced by permission of the author.—Neill, Michael. From “Remembrance and Revenge: Hamlet, Macbeth, and The Tempest,”in Jonson and Shakespeare. Edited by Ian Donaldson. Macmillan Press in association with Humanities Research Centre, Australian National University, 1983. Copyright © Ian Donaldson 1983. All rights reserved. Reproduced by permission of Macmillan, London and Basingstoke.—Prosser, Eleanor. From Hamlet and Revenge, second edition. Stanford University Press, 1971. Copyright © 1967, 1971, by the Board of Trustees of the Leland Stanford Junior University. Reproduced by permission. www.sup.org.—Robertson, Karen. From “A Revenging Feminine Hand in Twelfth Night,”in Reading and Writing in Shakespeare. Edited by David M. Bergeron. University of Delaware Press, 1996. Copyright © David M. Bergeron 1996. All rights reserved. Reproduced by permission of Associated University Presses.—Sanders, Wilbur. From Harvester New Critical Introductions to Shakespeare: The Winter’s Tale. Harvester Press, 1987. Copyright © Wilbur Sanders 1987. All rights reserved. Reproduced by permission.—Traister, Barbara H. From “The King’s One Body: Unceremonial Kingship in King John,”in King John: New Perspectives. Edited by Deborah T. Curren-Aquino. University of Delaware Press, 1989. Copyright © 1989 by Barbara H. Traister. All rights reserved. Reproduced by permission of Associated University Presses.—Wayne, Valerie. From “Historical Differences: Misogyny and Othello,”in The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Edited by Valerie Wayne. U.K.: Harvester Wheatsheaf and U.S.: Cornell University Press, 1991. Reproduced by permission.

PHOTOGRAPHS APPEARING IN SC, VOLUME 68, WERE RECEIVED FROM THE FOLLOWING SOURCES:

Artz, Terence as Camillo, Ryan Spickard as Polixenes, Anna Warren as Perdita, Dom Zook as the shepherd, and Scott Barnett as Florizel in a scene from the 2000 GreenStage production of The Winter’s Tale, directed by Tony Driscoll, photograph by Ken Holmes. Reproduced by permission.—Barnett, Scott as Florizel and Anna Warren as Perdita in a scene from the 2000 GreenStage production of The Winter’s Tale, directed by Tony Driscoll, photograph by Ken Holmes. Reproduced by permission.—Bryant, Michael as Prospero in a scene from the 1988 National Theatre production of William Shakespeare’s The Tempest, photograph by Neil Libbert. Hulton/Getty Images. Reproduced by permission.—Chapryk, Jim as Attendant, Glen Crumback as Attendant, Nicholas Pennell as King John, Ian White as the Earl of Pembroke, and Lewis Gordon as the Earl of Salisbury in a scene from the 1993 Stratford Festival production of King John, directed by Robin Phillips, photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives. Reproduced by permission.— Demetrius, Chiron, Lavinia, and Tamora in a scene from Titus Andronicus, illustration. Copyright © Bettmann/Corbis. Reproduced by permission.—Dodge, David J. as Leontes and Amelia Meckler as Hermione in a scene from the 2000 GreenStage production of The Winter’s Tale, directed by Tony Driscoll, photograph by Ken Holmes. Reproduced by permission.—Dodge, David J. as Leontes and Erin Day as Paulina in a scene from the 2000 GreenStage production of The Winter’s Tale, directed by Tony Driscoll, photograph by Ken Holmes. Reproduced by permission.—Lithograph of Thomas Wallace Keene as Othello, photograph. The Library of Congress.—O’Driscoll, Robert as an Officer, Bradley C. Rudy as Duke of Austria, Stephen Ouimette as Philip the Bastard, Janet Wright as Queen Eleanor, Diego Matamoros as Lewis the Dauphin, Michelle Fisk as Blanche of Spain, Nicholas Pennell as King John, and William Webster as Philip, King of France in a scene from the 1993 Stratford Festival production of King John, directed by Robin Phillips, photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives. Reproduced by permission.—Othello, Brabantio, and Desdemona, engraving by Goupil and Company. The Library of Congress.—Pauzer, Irene as Lady Faulconbridge, Bradley

C. Rudy as Duke of Austria, Patrick Finnigan as Arthur, Duke of Brittany, Goldie Semple as Constance, Diego Matamoros as Lewis, William Webster as Philip, King of France, Philippa Domville as Attendant, and Kristina Nicoll as Attendant in a scene from the 1993 Stratford Festival production of King John, directed by Robin Phillips, photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives. Reproduced by permission.—Play-within-the-play scene from William Shakespeare’s Hamlet, engraving by Charles Rolls. The Library of Congress.—Shylock and Jessica, steel engraving. General Collections, Library of Congress.—Southgate, Rex as Gratiano, Alan Scarfe as Othello, and Nicholas Pennell as Iago in a scene from the 1979 Stratford Festival production of Othello, directed by Frances Hyland, photograph by Robert

C. Ragsdale. Courtesy of Stratford Festival Archives. Reproduced by permission.—Sylvester, William as Cassio, Douglas Campbell as Othello, and Tony van Bridge as Montano in a scene from the 1959 Stratford Festival production of Othello, directed by Jean Gascon and George McCowan, photograph by Peter Smith and Company. Courtesy of the Stratford Festival Archives. Reproduced by permission.—Webster, William as Philip, King of France, Michelle Fisk as Blanche of Spain, and Nicholas Pennell as King John in a scene from the 1993 Stratford Festival production of King John, directed by Robin Phillips, photograph by Cylla von Tiedemann. Courtesy of the Stratford Festival Archives. Reproduced by permission.

Dr. Toby Burrows Mary Jane Marden

Principal Librarian Literature and General Reference Librarian The Scholars’ Centre St. Petersburg Jr. College University of Western Australia Library

Mark Schumacher David M. Durant

Jackson Library Joyner Library

East Carolina University University of North Carolina at Greensboro

Steven R. Harris Gwen Scott-Miller

English Literature Librarian Assistant Director of Materials and Programming University of Tennessee Sno-Isle Regional Library System