Julie Hankey – författare

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.