This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.

The biography of Arthur Weigall, the British Egyptologist who was involved in the exploration and conservation of the monuments and antiquities of a region stretching from Luxor to the Sudan border.At a time when Egypt was being ransacked by private collectors and the agents of Western museums, it was said that, without Weigall, much more would have been lost altogether - most notably, the wall paintings in the Tombs of the Nobles. The enthusiasm and energy of the man and of the books and articles he wrote played a large part in popularising Egypt and Egyptology, and in promoting the then radical view that Egypt's antiquities belonged to the Egyptians. When, in 1922, Tutankhamun's tomb was discovered by his old colleague Howard Carter, Weigall came into open conflict with Carter's patron, Lord Carnarvon, for his handling of the question of rights in the tomb, and for his sale of information from it to the London Times. Following Carnarvon's premature death in Egypt, it was Weigall's remarks to the press that led to the notorious story of the 'Curse of the Pharaohs': a myth that persists to this day.Weigall had many talents: he also designed theatre scenery, made films and wrote novels. But his real legacy derives from his passion for Egypt, both ancient and modern - a passion that informs the whole of his compelling story.

'Moving, funny ... an exquisite story of love, hope, distance and, ultimately, disenchantment.' Mail on Sunday'A sad and truthful fragment of modern history' TLS'Beautifully written' Jenny UglowThe love story of Zippa and Tony is nothing without the context of the Second World War.The war introduced them - they met as blackout wardens in London. It gave them darkened streets to wander in, hand in hand, then, by sending Tony away to officer training camps, it sharpened their hunger for each other, casting a glow over his comings and goings. It turned them into schemers and wanglers against fate and army regulations. It pressed them into marriage, and when the war decided to deploy him to North Africa, it whispered the urgent question of a baby. To which Tony, thinking of the war, replied maybe not; and Zippa, thinking of the war, said yes.In spite of themselves, the war experience was changing them both, and yet both were hanging on, looking back, suspended in memory and time, and living from letter to letter.Decades later, their daughter Julie discovered their letters, and piecing them together began to create a portrait of her parents and their relationship that was completely unfamiliar to her. Vivid, honest and completely absorbing, Damn This War! is a true insight into a wartime love story.

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.

This second edition of Othello updates the first (Bristol Classical Press, 1987), both chronologically and conceptually. It includes consideration of productions from the last seventeen years, and reconsiders earlier material in the light of more recent critical attitudes. Post-colonial and feminist studies have had an impact on the way Othello is perceived and interpreted. The question of blacked-up/black/colour-blind casting and the significance of white and/or black audiences in different political and racial contexts have recently become much more clearly articulated. In the process, Shakespeare himself has not escaped the charge of racism. Equally, the position of Desdemona has received more focussed attention, both as the forbidden object of desire within a racial framework, and as a woman in her own right. This edition takes account of these developments in criticism, in the theatre, on film, and in the adaptations which set out to interrogate Shakespeare's text.

The biography of Arthur Weigall, the British Egyptologist who was involved in the exploration and conservation of the monuments and antiquities of a region stretching from Luxor to the Sudan border.At a time when Egypt was being ransacked by private collectors and the agents of Western museums, it was said that, without Weigall, much more would have been lost altogether - most notably, the wall paintings in the Tombs of the Nobles. The enthusiasm and energy of the man and of the books and articles he wrote played a large part in popularising Egypt and Egyptology, and in promoting the then radical view that Egypt's antiquities belonged to the Egyptians. When, in 1922, Tutankhamun's tomb was discovered by his old colleague Howard Carter, Weigall came into open conflict with Carter's patron, Lord Carnarvon, for his handling of the question of rights in the tomb, and for his sale of information from it to the London Times. Following Carnarvon's premature death in Egypt, it was Weigall's remarks to the press that led to the notorious story of the 'Curse of the Pharaohs': a myth that persists to this day.Weigall had many talents: he also designed theatre scenery, made films and wrote novels. But his real legacy derives from his passion for Egypt, both ancient and modern - a passion that informs the whole of his compelling story.

'Moving, funny ... an exquisite story of love, hope, distance and, ultimately, disenchantment.' Mail on Sunday'A sad and truthful fragment of modern history' TLS'Beautifully written' Jenny UglowThe love story of Zippa and Tony is nothing without the context of the Second World War.The war introduced them - they met as blackout wardens in London. It gave them darkened streets to wander in, hand in hand, then, by sending Tony away to officer training camps, it sharpened their hunger for each other, casting a glow over his comings and goings. It turned them into schemers and wanglers against fate and army regulations. It pressed them into marriage, and when the war decided to deploy him to North Africa, it whispered the urgent question of a baby. To which Tony, thinking of the war, replied maybe not; and Zippa, thinking of the war, said yes.In spite of themselves, the war experience was changing them both, and yet both were hanging on, looking back, suspended in memory and time, and living from letter to letter.Decades later, their daughter Julie discovered their letters, and piecing them together began to create a portrait of her parents and their relationship that was completely unfamiliar to her. Vivid, honest and completely absorbing, Damn This War! is a true insight into a wartime love story.