MARC Record from marc_columbia

LEADER: 03337cam a2200589 i 4500
001 13561401
005 20181218122305.0
008 180519t20182018gw b 000 0 eng c
010 $a 2018023799
020 $a9783631748695$qhardback
020 $a3631748698$qhardback
020 $z9783631757260$q(E-PDF)
020 $z9783631757277$q(EPUB)
020 $z9783631757284$q(MOBI)
024 $a99978077090
035 $a(OCoLC)on1035748435
035 $a(OCoLC)1035748435
035 $a(NNC)13561401
040 $aLBSOR/DLC$beng$erda$cDLC$dOCLCO$dOCLCF$dERASA$dYDX
042 $apcc
050 00 $aPR2880.A1$bT45 2018
082 00 $a822.3/3$223
100 1 $aTekin, İnci Bilgin,$d1978-$eauthor.
245 10 $aFemale "Othellos" /$cInci Bilgin Tekin.
264 1 $aBerlin ;$aNew York, NY :$bPeter Lang,$c[2018]
264 4 $c©2018
300 $a99 pages ;$c22 cm
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
520 $a"This study aims at examining the contemporary stage adaptations of Othello by the four noteworthy contemporary playwrights Ann Marie MacDonald, Djanet Sears, Paula Vogel and Toni Morrison, while discussing their plays both within and outside the framework of Adaptation Studies. Drawing on postcolonial and feminist theories along with psychoanalytical theories and theories of adaptation, this book explores the adaptive levels, contexts and strategies of the four women playwrights in revising Othello. The anxiety of canonization that the contemporary women playwrights experience, is also addressed as an issue parallel to their authorial relations with Shakespeare. In the hands of contemporary women playwrights, Othello thematically makes a call for new contemporary women's perspectives and technically provides an everlasting space for further feminist adaptations, already becoming a signifier of the signification process itself"--$cProvided by publisher.
504 $aIncludes bibliographical references.
505 0 $aA theoretical background -- Othello and white female body -- Black feminist Othellos -- Conclusion: writerly dialogues and adaptive strategies: authorship or authority?.
600 10 $aShakespeare, William,$d1564-1616.$tOthello$xAdaptations$xHistory and criticism.
600 10 $aShakespeare, William,$d1564-1616$xDramatic production.
600 10 $aShakespeare, William,$d1564-1616$xStage history$y1950-
600 17 $aShakespeare, William,$d1564-1616.$2fast$0(OCoLC)fst00029048
630 07 $aOthello (Shakespeare, William)$2fast$0(OCoLC)fst01356175
650 0 $aTheater$xCasting$xHistory.
650 0 $aSex role in the theater.
650 0 $aGender identity in the theater.
650 0 $aFeminism and theater.
650 7 $aFeminism and theater.$2fast$0(OCoLC)fst00922749
650 7 $aGender identity in the theater.$2fast$0(OCoLC)fst01742638
650 7 $aLiterature$xAdaptations.$2fast$0(OCoLC)fst00999955
650 7 $aSex role in the theater.$2fast$0(OCoLC)fst01742637
650 7 $aTheater.$2fast$0(OCoLC)fst01149217
650 7 $aTheater$xCasting.$2fast$0(OCoLC)fst01149228
648 7 $aSince 1950$2fast
655 7 $aCriticism, interpretation, etc.$2fast$0(OCoLC)fst01411635
655 7 $aHistory.$2fast$0(OCoLC)fst01411628
852 00 $bglx$hPR2880.A1$iT45 2018