Shakespeare's Othello - character

 

Othello  is a character in Shakespeare's Othello . The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. There, he is simply referred to as the Moor.

Othello is a brave and competent soldier of advanced years and Moorish background in the service of the Venetian Republic. He elopes with Desdemona, the beautiful daughter of a respected Venetian senator. After being deployed to Cyprus, Othello is manipulated by his Ancient (pronounced Ensign) Iago into believing Desdemona is an adulteress. Othello murders her and, upon discovering Iago's deceit, kills himself.

Othello was first mentioned in a Revels account of 1604 when the play was performed on 1 November at Whitehall Palace with Richard Burbage almost certainly Othello's first interpreter. Modern notable performers of the role include Paul Robeson, Orson Welles, Richard Burton, James Earl Jones, Laurence Fishburne, Laurence Olivier, and Avery Brooks.Othello is a Moorish prince living in Venice as an ambassador of the Moors. After time in Venice, Othello is appointed general in the Venetian Army. His officer Iago tricks him into believing that his wife Desdemona is having an affair with his Lieutenant, Michael Cassio. Othello kills his wife out of jealousy by strangling her, only to realize that his wife was faithful after Emilia reveals the truth, at which point he commits suicide.

Othello has its source in the 1565 tale "Un Capitano Moro" from Gli Hecatommithi by Giovanni Battista Giraldi Cinthio. While no English translation of Cinthio was available in Shakespeare's lifetime, it is probable that Shakespeare knew both the Italian original and Gabriel Chappuy's 1584 French translation. Cinthio's tale may have been based on an actual incident occurring in Venice about 1508. It also resembles an incident described in the earlier tale of "The Three Apples", one of the stories narrated in the One Thousand and One Nights (Arabian Nights). Desdemona is the only named character in Cinthio's tale, his other characters being identified as the Moor, the squadron leader, the ensign, and the ensign's wife.

While Shakespeare closely followed Cinthio's tale in composing Othello, he departed from it in some details, particularly in the tale's depiction of Desdemona's death. In Cinthio, the Moor commissions his ensign to bludgeon Desdemona to death with a sand-filled stocking. In gruesome detail, Cinthio follows each blow, and, when the lady is dead, the Moor and his ensign place her lifeless body upon her bed, smash her skull, and then cause the cracked ceiling above the bed to collapse upon her, giving the impression the falling rafters caused her death. The two murderers escape detection. The Moor then misses his wife greatly, and comes to loathe the sight of his ensign. He demotes him, and refuses to have him in his company. The ensign then seeks revenge by disclosing to "the squadron leader" (the tale's Cassio counterpart), the Moor's involvement in Desdemona's death. The two men denounce the Moor to the Venetian Seignory. The Moor is arrested, transported from Cyprus to Venice, and tortured, but refuses to admit his guilt. He is condemned to exile; Desdemona's relatives eventually put him to death. The ensign escapes any prosecution in Desdemona's death but engages in other crimes and dies after being tortured. There is no final consensus over Othello's ethnicity; whether of Maghrebi origin as in the generally accepted definition of "Moor", or of Sub-Saharan African.

E. A. J. Honigmann, the editor of the Arden Shakespeare edition concluded that Othello's ethnic background is ambiguous. "Renaissance representations of the Moor were vague, varied, inconsistent, and contradictory. As critics have established, the term 'Moor' referred to dark-skinned people in general, used interchangeably with similarly ambiguous terms as 'African', 'Ethiopian' and even 'Indian' to designate a figure from Africa (or beyond)." Various uses of the word "black" (for example, "Haply for I am black") are insufficient evidence for any accurate racial classification, Honigmann argues, since "black" could simply mean "swarthy" to Elizabethans. In 1911, James Welton argued more evidence points to him being Sub-Saharan, though Shakespeare's intention is unknown. He cites Brabantio's description of Othello's "sooty bosom", a racial stereotype during this time, and Othello's contrast between his "begrimed" features and the purity of the goddess Diana. He argues that interpretations attempting to change Othello from "black to brown" were due to racial prejudice during Reconstruction in the US and notes that Othello is described using similar language to Aaron in Titus Andronicus. Virginia Mason Vaughan suggests that the racial identity of the character of Othello fits more clearly as a man from Sub-Saharan Africa than from North Africa (Barbary), as north Africans were more easily accepted into society. She states that by 1604, accounts of Othello as deriving from farther south were not uncommon. She notes Roderigo's description of Othello having "thick lips" was a racial stereotype used by 16th century explorers for Sub-Saharan Africans. Modern-day readers and theatre directors lean away from a North African Moorish interpretation but Shakespeare's textual references are unclear. Iago twice uses the word "Barbary" or "Barbarian" to refer to Othello, seemingly referring to the Barbary coast inhabited by the "tawny" Moors. Roderigo calls Othello "the thicklips", which seems to refer to European conceptions of Sub-Saharan African physiognomy, but Honigmann counters that, as these comments are all intended as insults by the characters, they need not be taken literally.

Michael Neill, editor of the Oxford Shakespeare edition, notes that the earliest known critical references to Othello's colour, (Thomas Rymer's 1693 critique of the play, and the 1709 engraving in Nicholas Rowe's edition of Shakespeare), assume him to be a black man, while the earliest known North African interpretation was not until Edmund Kean's production of 1814. It has been suggested that Abd el-Ouahed ben Messaoud ben Mohammed Anoun, Moorish ambassador of the Arab King of Barbary to Queen Elizabeth I in 1600, may have been an inspiration for Othello. He stayed with his retinue in London for several months and occasioned much discussion, and thus might have inspired Shakespeare's play, written only a few years afterwards. The exact date that Othello was written is unknown, though sources indicate that it was written between 1601 and 1610, sometime after the Moorish delegation. However, Honigmann questions the view that ben Messaoud inspired Othello.

Othello is referred to as a "Barbary horse" (1.1.113), a "lascivious Moor" (1.1.127), and "the devil" (1.1.91). In III.III, he denounces Desdemona's supposed sin as being "black as mine own face". Desdemona's physical whiteness is otherwise presented in opposition to Othello's dark skin; V.II "that whiter skin of hers than snow". Iago tells Brabantio that "an old black ram / is tupping your white ewe" (1.1.88). In Elizabethan discourse, the word "black" could suggest various concepts that extended beyond the physical colour of skin, including a wide range of negative connotations.

Ira Aldridge pioneered the prominence of black actors in the role, beginning in 1825 in London. Othello was also frequently performed as an Arab Moor during the 19th century. In the past, Othello would often have been portrayed by a white actor in theatrical makeup. Black American actor Paul Robeson played the role from 1930 to 1959. Recent actors who chose to "blacken up" include Laurence Olivier (1965) and Orson Welles. Black English actor Wil Johnson, known for his roles in Waking the Dead and Emmerdale, played Othello on stage in 2004. Since the 1960s it has become commonplace to cast a black actor in the character of Othello, although the casting of the role now can come with a political subtext. Patrick Stewart took the role in the Shakespeare Theatre Company's 1997 staging of the play and Thomas Thieme, also white, played Othello in a 2007 Munich Kammerspiele staging at the Royal Shakespeare Theatre; both played without blackface, their performances critically acclaimed.

The most notable American production may be Margaret Webster's 1943 staging starring Paul Robeson as Othello and José Ferrer as Iago. This production was the first ever in America to feature a black actor playing Othello with an otherwise all-white cast (there had been all-black productions of the play before). It ran for 296 performances, almost twice as long as any other Shakespearean play ever produced on Broadway.Although it was never filmed, it was the first nearly complete performance of a Shakespeare play released on records. Robeson played Othello in three separate productions between 1930 and 1959. He first played it opposite a cast that included Peggy Ashcroft as Desdemona and Ralph Richardson as Roderigo, and would return to it in 1959 at Stratford on Avon.

The American actor William Marshall performed the title role in at least six productions. His Othello was called by Harold Hobson of the London Sunday Times "the best Othello of our time", continuing: "nobler than Tearle, more martial than Gielgud, more poetic than Valk. From his first entry, slender and magnificently tall, framed in a high Byzantine arch, clad in white samite, mystic, wonderful, a figure of Arabian romance and grace, to his last plunging of the knife into his stomach, Mr Marshall rode without faltering the play's enormous rhetoric, and at the end the house rose to him." Marshall also played Othello in a jazz musical version, Catch My Soul, with Jerry Lee Lewis as Iago, in Los Angeles in 1968.His Othello was captured on record in 1964 with Jay Robinson as Iago and on video in 1981 with Ron Moody as Iago. The 1982 Broadway staging starred James Earl Jones as Othello and Christopher Plummer as Iago.

When Laurence Olivier gave his acclaimed performance of Othello at the Royal National Theatre (UK) in 1964, he had developed a case of stage fright that was so profound that when he was alone onstage, Frank Finlay (who was playing Iago) would have to stand offstage where Olivier could see him to settle his nerves.[28] This performance was recorded complete on LP, and filmed by popular demand in 1965 (according to a biography of Olivier, tickets for the stage production were notoriously hard to get). The film version still holds the record for the most Oscar nominations for acting ever given to a Shakespeare film – Olivier, Finlay, Maggie Smith (as Desdemona) and Joyce Redman (as Emilia, Iago's wife) were all nominated for Academy Awards.

Actors have alternated the roles of Iago and Othello in productions to stir audience interest since the nineteenth century. Two of the most notable examples of this role swap were William Charles Macready and Samuel Phelps at Drury Lane (1837) and Richard Burton and John Neville at the Old Vic Theatre (1955). When Edwin Booth's tour of England in 1880 was not well attended, Henry Irving invited Booth to alternate the roles of Othello and Iago with him in London. The stunt renewed interest in Booth's tour. James O'Neill also alternated the roles of Othello and Iago with Booth.

White actors have continued to take the role. These include British performers Paul Scofield at the Royal National Theatre in 1980, Anthony Hopkins in the BBC Shakespeare television production (1981), and Michael Gambon in a stage production at Scarborough directed by Alan Ayckbourn in 1990. In 1997, Patrick Stewart took the role with the Shakespeare Theatre Company (Washington, D.C.) in a race-bending performance, in a "photo negative" production of a white Othello with an otherwise all-black cast. Stewart had wanted to play the title role since the age of 14, so he and director Jude Kelly inverted the play so Othello became a comment on a white man entering a black society. Two Indian adaptations of Othello has been released. In 1997, Kaliyattam the Malayalam film adaptation starred Suresh Gopi playing the Othello part in the role of Kannan Perumalayan. In 2006, Omkara, the Bollywood version of Othello, Othello née Omkara 'Omi' Shukla was played by Ajay Devgan. In 2016, baritone and actor David Serero took the role in a Moroccan adaptation in New York

PREGNANCY AND BIRTH CONTROL

 

Pregnancy is the time during which one or more offspring develops (gestates) inside a woman's uterus (womb). A multiple pregnancy involves more than one offspring, such as with twins.

Pregnancy usually occurs by sexual intercourse, but can also occur through assisted reproductive technology procedures. A pregnancy may end in a live birth, a miscarriage, an induced abortion, or a stillbirth. Childbirth typically occurs around 40 weeks from the start of the last menstrual period (LMP), a span known as the gestational age. This is just over nine months. Counting by fertilization age, the length is about 38 weeks.[Paverage 8–9 days after fertilization. An embryo is the term for the developing offspring during th first seven weeks following implantation (i.e. ten weeks' gestational age), after which the term fetus is used until birth.

Signs and symptoms of early pregnancy may include missed periods, tender breasts, morning sickness (nausea and vomiting), hunger, implantation bleeding, and frequent urination.Pregnancy may be confirmed with a pregnancy test. Methods of birth control—or, more accurately, contraception—are used to avoid pregnancy.

Pregnancy is divided into three trimesters of approximately three months each. The first trimester includes conception, which is when the sperm fertilizes the egg. The fertilized egg then travels down the Fallopian tube and attaches to the inside of the uterus, where it begins to form the embryo and placenta. During the first trimester, the possibility of miscarriage (natural death of embryo or fetus) is at its highest. Around the middle of the second trimester, movement of the fetus may be felt. At 28 weeks, more than 90% of babies can survive outside of the uterus if provided with high-quality medical care, though babies born at this time will likely experience serious health complications such as heart and respiratory problems and long-term intellectual and developmental disabilities.

Prenatal care improves pregnancy outcomes. Nutrition during pregnancy is important to ensure healthy growth of the fetus. Prenatal care may also include avoiding recreational drugs (including tobacco and alcohol), taking regular exercise, having blood tests, and regular physical examinations. Complications of pregnancy may include disorders of high blood pressure, gestational diabetes, iron-deficiency anemia, and severe nausea and vomiting. In the ideal childbirth, labor begins on its own "at term". Babies born before 37 weeks are "preterm" and at higher risk of health problems such as cerebral palsy. Babies born between weeks 37 and 39 are considered "early term" while those born between weeks 39 and 41 are considered "full term". Babies born between weeks 41 and 42 weeks are considered "late term" while after 42 weeks they are considered "post term". Delivery before 39 weeks by labor induction or caesarean section is not recommended unless required for other medical reasons.

About 213 million pregnancies occurred in 2012, of which, 190 million (89%) were in the developing world and 23 million (11%) were in the developed world. The number of pregnancies in women aged between 15 and 44 is 133 per 1,000 women .About 10% to 15% of recognized pregnancies end in miscarriage. In 2016, complications of pregnancy resulted in 230,600 maternal deaths, down from 377,000 deaths in 1990. Common causes include bleeding, infections, hypertensive diseases of pregnancy, obstructed labor, miscarriage, abortion, or ectopic pregnancy. Globally, 44% of pregnancies are unplanned. Over half (56%) of unplanned pregnancies are aborted. Among unintended pregnancies in the United States, 60% of the women used birth control to some extent during the month pregnancy began.

Birth control, also known as contraception, anticonception, and fertility control, is the use of methods or devices to prevent unintended pregnancy. Birth control has been used since ancient times, but effective and safe methods of birth control only became available in the 20th century. Planning, making available, and using human birth control is called family planning. Some cultures limit or discourage access to birth control because they consider it to be morally, religiously, or politically undesirable.

The World Health Organization and United States Centers for Disease Control and Prevention provide guidance on the safety of birth control methods among women with specific medical conditions. The most effective methods of birth control are sterilization by means of vasectomy in males and tubal ligation in females, intrauterine devices (IUDs), and implantable birth control. This is followed by a number of hormone-based methods including oral pills, patches, vaginal rings, and injections.Less effective methods include physical barriers such as condoms, diaphragms and birth control sponges and fertility awareness methods. The least effective methods are spermicides and withdrawal by the male before ejaculation. Sterilization, while highly effective, is not usually reversible; all other methods are reversible, most immediately upon stopping them. Safe sex practices, such as with the use of male or female condoms, can also help prevent sexually transmitted infections. Other methods of birth control do not protect against sexually transmitted diseases. Emergency birth control can prevent pregnancy if taken within 72 to 120 hours after unprotected sex. Some argue not having sex is also a form of birth control, but abstinence-only sex education may increase teenage pregnancies if offered without birth control education, due to non-compliance.

In teenagers, pregnancies are at greater risk of poor outcomes.Comprehensive sex education and access to birth control decreases the rate of unintended pregnancies in this age group. While all forms of birth control can generally be used by young people, long-acting reversible birth control such as implants, IUDs, or vaginal rings are more successful in reducing rates of teenage pregnancy.After the delivery of a child, a woman who is not exclusively breastfeeding may become pregnant again after as few as four to six weeks. Some methods of birth control can be started immediately following the birth, while others require a delay of up to six months. In women who are breastfeeding, progestin-only methods are preferred over combined oral birth control pills. In women who have reached menopause, it is recommended that birth control be continued for one year after the last menstrual period.

About 222 million women who want to avoid pregnancy in developing countries are not using a modern birth control method. Birth control use in developing countries has decreased the number of deaths during or around the time of pregnancy by 40% (about 270,000 deaths prevented in 2008) and could prevent 70% if the full demand for birth control were met. By lengthening the time between pregnancies, birth control can improve adult women's delivery outcomes and the survival of their children. In the developing world, women's earnings, assets, and weight, as well as their children's schooling and health, all improve with greater access to birth control. Birth control increases economic growth because of fewer dependent children, more women participating in the workforce, and less use of scarce resources.

Neoclassicism - sculpture

 

Neoclassicism (also spelled Neo-classicism) was a Western cultural movement in the decorative and visual arts, literature, theatre, music, and architecture that drew inspiration from the art and culture of classical antiquity. Neoclassicism was born in Rome largely thanks to the writings of Johann Joachim Winckelmann, at the time of the rediscovery of Pompeii and Herculaneum, but its popularity spread all over Europe as a generation of European art students finished their Grand Tour and returned from Italy to their home countries with newly rediscovered Greco-Roman ideals.The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th and up to the 21st century.

European Neoclassicism in the visual arts began c. 1760 in opposition to the then-dominant Rococo style. Rococo architecture emphasizes grace, ornamentation and asymmetry; Neoclassical architecture is based on the principles of simplicity and symmetry, which were seen as virtues of the arts of Rome and Ancient Greece, and were more immediately drawn from 16th-century Renaissance Classicism. Each "neo"-classicism selects some models among the range of possible classics that are available to it, and ignores others. The Neoclassical writers and talkers, patrons and collectors, artists and sculptors of 1765–1830 paid homage to an idea of the generation of Phidias, but the sculpture examples they actually embraced were more likely to be Roman copies of Hellenistic sculptures. They ignored both Archaic Greek art and the works of Late Antiquity. The "Rococo" art of ancient Palmyra came as a revelation, through engravings in Wood's The Ruins of Palmyra. Even Greece was all-but-unvisited, a rough backwater of the Ottoman Empire, dangerous to explore, so Neoclassicists' appreciation of Greek architecture was mediated through drawings and engravings, which subtly smoothed and regularized, "corrected" and "restored" the monuments of Greece, not always consciously.

The Empire style, a second phase of Neoclassicism in architecture and the decorative arts, had its cultural centre in Paris in the Napoleonic era. Especially in architecture, but also in other fields, Neoclassicism remained a force long after the early 19th century, with periodic waves of revivalism into the 20th and even the 21st centuries, especially in the United States and Russia. If Neoclassical painting suffered from a lack of ancient models, Neoclassical sculpture tended to suffer from an excess of them. Although examples of actual Greek sculpture of the "Classical Period" beginning in about 500 BC were then very few; the most highly regarded works were mostly Roman copies. The leading Neoclassical sculptors enjoyed huge reputations in their own day, but are now less regarded, with the exception of Jean-Antoine Houdon, whose work was mainly portraits, very often as busts, which do not sacrifice a strong impression of the sitter's personality to idealism. His style became more classical as his long career continued, and represents a rather smooth progression from Rococo charm to classical dignity. Unlike some Neoclassical sculptors he did not insist on his sitters wearing Roman dress, or being unclothed. He portrayed most of the notable figures of the Enlightenment, and travelled to America to produce a statue of George Washington, as well as busts of Thomas Jefferson, Ben Franklin and other founders of the new republic.

Antonio Canova and the Dane Bertel Thorvaldsen were both based in Rome, and as well as portraits produced many ambitious life-size figures and groups; both represented the strongly idealizing tendency in Neoclassical sculpture. Canova has a lightness and grace, where Thorvaldsen is more severe; the difference is exemplified in their respective groups of the Three Graces. All these, and Flaxman, were still active in the 1820s, and Romanticism was slow to impact sculpture, where versions of Neoclassicism remained the dominant style for most of the 19th century.

An early Neoclassicist in sculpture was the Swede Johan Tobias Sergel. John Flaxman was also, or mainly, a sculptor, mostly producing severely classical reliefs that are comparable in style to his prints; he also designed and modelled Neoclassical ceramics for Josiah Wedgwood for several years. Johann Gottfried Schadow and his son Rudolph, one of the few Neoclassical sculptors to die young, were the leading German artists,[36] with Franz Anton von Zauner in Austria. The late Baroque Austrian sculptor Franz Xaver Messerschmidt turned to Neoclassicism in mid-career, shortly before he appears to have suffered some kind of mental crisis, after which he retired to the country and devoted himself to the highly distinctive "character heads" of bald figures pulling extreme facial expressions. Like Piranesi's Carceri, these enjoyed a great revival of interest during the age of psychoanalysis in the early 20th century. The Dutch Neoclassical sculptor Mathieu Kessels studied with Thorvaldsen and worked almost exclusively in Rome.

Since prior to the 1830s the United States did not have a sculpture tradition of its own, save in the areas of tombstones, weathervanes and ship figureheads, the European Neoclassical manner was adopted there, and it was to hold sway for decades and is exemplified in the sculptures of Horatio Greenough, Harriet Hosmer, Hiram Powers, Randolph Rogers and William Henry Rinehart.

P.S. I Love You - American romantic drama film

 

P.S. I Love You is a 2007 American romantic drama film directed by Richard LaGravenese from a screenplay by LaGravenese and Steven Rogers based on the 2004 novel of the same name by Cecelia Ahern. The film stars Hilary Swank, Gerard Butler, Lisa Kudrow, Gina Gershon, James Marsters, Harry Connick Jr. and Jeffrey Dean Morgan.

The film was released in the United States on December 21, 2007, by Warner Bros. Pictures. It was critically panned, with criticism being directed at Swank's performance and the writing. However, it was a box office success, and grossed $156.8 million worldwide against a $30 million budget. In 2019 Swank expressed interest in adapting the follow-up book into a second film. Holly and Gerry are a married couple living in Manhattan; they fight occasionally but are deeply in love. One winter, Gerry dies of a brain tumour, causing Holly to withdraw from her family and friends out of grief.

On Holly's 30th birthday, a cake is delivered along with a cassette that holds a recording from Gerry— the first of several meaningful messages all ending "P.S. I Love You", which he had arranged to have delivered to her after his death. Holly's mom, Patricia, who never warmed to the idea of her marrying Gerry when she was nineteen, is not pleased, worried that it will keep Holly tied to the past.

As each season passes, Gerry's messages fill Holly with encouragement to continue living. Having organised for Holly and her two best friends, Denise and Sharon, to travel to his homeland of Ireland, they arrive at a beautiful house in the Irish countryside and find a letter addressed to each of them; one asks Denise to take Holly to his favourite pub. While there, Holly meets William, a singer who strongly reminds her of Gerry. He dedicates a song to her, ("Galway Girl"); upon hearing it, she is overcome with emotion and walks out, realising it was the song Gerry sang to her when they first met.

While out fishing on the lake, the women lose their boat's oars, leaving them stranded. As they wait for help, Sharon announces that she is pregnant and Denise reveals she is getting married. Their news causes Holly to relapse emotionally and begin to withdraw into herself again. They are eventually rescued by William, whom Sharon and Denise invite to stay the night because of the rain. Unable to deny their feelings for each other, William and Holly have sex. They later have a conversation about Gerry and, when Holly mentions his parents who she wants to go and visit, William realises she is the widow of his childhood friend. Holly panics, but William calms her down by telling her stories about his and Gerry's friendship. The next day, Holly visits Gerry's parents and while there, receives another letter, reminding her of how they met.

Arriving home, Holly continues to withdraw from her life, but is later inspired to start designing women's shoes after finding one of Gerry's suspender clips on one of her heels. She enrols in a design class and, over time, her new found confidence allows her to emerge from her solitude and genuinely embrace her friends' happiness. Holly also goes out to dinner with an old friend, Daniel, who reveals he has always had feelings for her. Knowing Holly doesn't return the same feelings, and after she calls him Gerry by mistake, Daniel leaves the restaurant.

While on a walk with her mother, Patricia hands Holly a final letter from Gerry, revealing she was the one whom he had asked to deliver all of the messages; she said she didn't think it was appropriate but also couldn't say no to him. Holly returns home to a voicemail from Daniel. They meet at Yankee Stadium and she asks him to read the letter; in it, Gerry tells her not to turn away from new love. Holly and Daniel share a kiss but then decide they are better staying as friends.

Later, Holly takes her mother on a trip to Ireland. By chance they meet William, and he expresses his wish to see her again.