Otelo Lynda Boose

Contents
Acknowledgements General Editors Preface Introduction LENA COWEN ORLIN 1. Let it be Hid: The grownup Aesthetic of Shakespeares Othello LYNDA E. BOOSE Cultural Materialism, Othello and the Politics of Plausibility ALAN SINFIELD c every last(predicate)ithump parade and the Comedy of Abjection in Othello MICHAEL D. BRISTOL Impertinent Tri?ing: Desdemonas hanky HARRY BERGER, JR. Brothers of the State: Othello, Bureaucracy and Epistemological Crisis ELIZABETH HANSON Othello on Trial EMILY C. BARTELS Othellos Identity, Postcolonial Theory and Contemporary African Rewritings of Othello JYOTSNA SINGH v vii ix 1

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49 78 103

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vi CONTENTS 8. Race-ing Othello: Re-Engendering White-Out BARBARA HODGDON Black and White, and Dread All everyplace: The Shakespeare Theatres Photonegative Othello and the Body of Desdemona DENISE ALBANESE 190

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Further Reading Notes on Contributors Index

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Let it be Hid: The Pornographic Aesthetic of Shakespeares Othello
LYNDA E. BOOSE

extract my thoughts? Why, say they are vile and false: As wheres that palace, whereinto foul things Sometimes intrude not?



who has a breast so pure, But some uncleanly apprehensions Keep leets and law-days, and in academic session sit With meditations lawful? (Othello 3.3.1405)1

The ?nal act of Othello visually confronts its listening with what is arguably the most unforgettable stage tableau in all of Shakespeare. Before the forces of institutional morality burst in and feebly attempt to assert control over the chaos of the bed get on, the audience has been led into the forbidden dummy of this hitherto offstage room the imagined chamber towards which the play has always pointed, the place which it has repeatedly eroticized, and the space which until now it has kept discreetly hidden, blocked from audience heap behind one of a number of ?ctive doors that we have consented to imagine. In the closing act, when the ?nal door to the plays...If you want to get a full essay, order it on our website: Ordercustompaper.com



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