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    Trevor Nunn’s esteemed production, Othello (1990), and Janet Suzman’s distinguished film, Othello (1987), artistically enthrall viewers from the inception to the final scenes of their unique adaptations of William Shakespeare’s tale of love and jealousy. Both Nunn’s and Suzman’s works chronicle this renowned play with keen attention to detail, bearing striking similarities and maintaining fundamental facets of the plot and theme. This thoughtful preservation of key elements is complemented by distinct

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    The Character of Emilia in Othello Emilia is one of the few straightforward people in the Shakespeare's Othello.  Emilia is taciturn.  When we first meet her in Cyprus, after his throwaway condescending remark about suffering her tongue, and Desdemona's rejoinder that "she has no speech", Iago has to admit that "she puts her tongue a little in her heart and chides with thinking". In the scene of light hearted banter that follows Emilia manages to utter two words.  She really only finds her voice

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    Olivia’s cousin Sir Toby. Maria is typically interpreted as being “feisty, witty, and outgoing” (Marshall 217), but some would argue that this is not her personality in Trevor Nunn’s rendition of Twelfth Night. Here I will discuss the differences between Twelfth Night as a play by Tim Carroll verses Twelfth Night as a movie by Trevor Nunn; between these two renditions, Maria is more true to character in Carroll’s rendition than Nunn’s because

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    William Shakespeare’s Twelfth Night: Feste

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    Trevor Nunn’s (1996) adaptation of Twelfth Night illustrates the complexity of Feste’s character and how important he is to the overall play. Ben Kingsley, the actor, presents Feste as sympathetic and gentle choric figure. It is Feste who allows the audience to see the films respect for the original play, and the existing issues within it. This includes the defencelessness of women, and the attractive, but dangerous, qualities of altering one’s true sexual identity. Interestingly, unlike the original

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    At the end of the play, Malcolm refers to Macbeth and Lady Macbeth as “this dead butcher and his fiend like queen” (5.7 .114). In your view, how appropriate is this description of Lady Macbeth? At first, one could easily summarise that Lady Macbeth is indeed a fiend like queen. Throughout the play, she does seem to be the driving force behind Macbeth, causing him to murder and commit devilish deeds. Malcolm had of course had a reason on why is view on the Macbeth’s was like it was. Together they

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    Love's Labour's Lost

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    forward-looking play. It is its ending in particular, an unexpectedly grim conclusion in which nothing is actually concluded, that has appealed to modern sensibilities and made Love's Labour's Lost the Shakespeare play for the twentieth century. Trevor Nunn makes this point emphatically in a recent National Theatre production that presents Love's Labour's Lost as a tale of society's passage out of the nineteenth century in the devastation of World War I. Though neither this idea nor any other aspect

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    cinematic context – to decide how to interpret the play and which elements are privileged and which are suppressed. This variance in interpretation is exemplified in comparing two of the more recent cinematic adaptations of Shakespeare’s comedies, Trevor Nunn’s Twelfth Night and Kenneth Branagh’s A Much Ado About Nothing [‘Much Ado’]. Although both films can to an extent be seen as comedies with serious, almost tragic aspects inherent throughout, Nunn’s film deals with these serious facets as central

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    Midaq Alley

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    Naguib Mahfouz is the author of the book Midaq Alley that was translated from Arabic by Trevor Le Gassick. First published in 1966, Midaq Alley displays a historical period of Egypt in the most intimate sense as it is presented through the lives of the characters that inhabit the alley. Although the book is set in the early forties it possesses a taste of eternity as the reader watches the characters struggle through questions of morality, ethics, and traditions. (The answer of which shape their

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    Return Of The Mac

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    reason, of course, is OS X. Powerbooks are beautifully designed and run FreeBSD. What more do you need to know? I got a Powerbook at the end of last year. When my IBM Thinkpad's hard disk died soon after, it became my only laptop. And when my friend Trevor showed up at my house recently, he was carrying a Powerbook identical to mine. For most of us, it's not a switch to Apple, but a return. Hard as this was to believe in the mid 90s, the Mac was in its time the canonical hacker's computer. In

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    The History of Jamaican Slavery

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    cost to the hundreds of thousands of Africans who became unwillingly caught up in the trade triangle between England, Africa and the Caribbean. In their essay "The Dynamics of the Slave Market and Slave Purchasing Patterns in Jamaica, 1655-1788," Trevor Burnard and Kenneth Morgan say: "Jamaica had the largest demand for slaves of any British colony in the Americas" (2). By the end of the eighteenth century there were more than 300, 000 slaves in Jamaica; and the fact that the slaves outnumbered the

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