001477696 000__ 05644nam\a22007815i\4500 001477696 001__ 1477696 001477696 003__ DE-B1597 001477696 005__ 20231026034824.0 001477696 006__ m\\\\\o\\d\\\\\\\\ 001477696 007__ cr\un\nnnunnun 001477696 008__ 230103t20222013nyu\\\\\o\\d\z\\\\\\eng\d 001477696 020__ $$a9780823290765 001477696 0247_ $$a10.1515/9780823290765$$2doi 001477696 035__ $$a(DE-B1597)565921 001477696 035__ $$a(OCoLC)1306538739 001477696 040__ $$aDE-B1597$$beng$$cDE-B1597$$erda 001477696 0410_ $$aeng 001477696 044__ $$anyu$$cUS-NY 001477696 072_7 $$aLIT004120$$2bisacsh 001477696 1001_ $$aBerger, Harry, $$eauthor.$$4aut$$4http://id.loc.gov/vocabulary/relators/aut 001477696 24512 $$aA Fury in the Words :$$bLove and Embarrassment in Shakespeare's Venice /$$cHarry Berger. 001477696 264_1 $$aNew York, NY : $$bFordham University Press, $$c[2022] 001477696 264_4 $$c©2013 001477696 300__ $$a1 online resource (240 p.) 001477696 336__ $$atext$$btxt$$2rdacontent 001477696 337__ $$acomputer$$bc$$2rdamedia 001477696 338__ $$aonline resource$$bcr$$2rdacarrier 001477696 347__ $$atext file$$bPDF$$2rda 001477696 50500 $$tFrontmatter -- $$tContents -- $$tAcknowledgments -- $$tPrologue: Language as Gesture -- $$tPart One. Mercifixion in The Merchant of Venice: The Riches of Embarrassment -- $$tIntroduction -- $$t1. Negotiating the Bond -- $$t2. Antonio's Blues -- $$t3. Curiositas: The Two Sallies -- $$t4. Negative Usury and the Arts of Embarrassment -- $$t5. Negative Usury: Portia's Ring Trick -- $$t6. Portia the Embarrasser -- $$t7. The Archery of Embarrassment -- $$t8. The First Jason -- $$t9. A Note on Verse and Prose in Act I -- $$t10. Another Jason -- $$t11. Portia Cheating -- $$t12. Portia's Hair -- $$t13. The Siege of Belmont 13. The Siege of Belmont -- $$t14. Covinous Casketeers -- $$t15. Moonlit Maundering -- $$t16. Coigns of Vantage -- $$t17. Standing for Judgment -- $$t18. Standing for Sacrifice -- $$t19. "Here is the money": Bassanio in the Bond Market -- $$t20. Twilight in Belmont: Portia's Ring Cycle -- $$t21. Death in Venice -- $$tPart Two. Three's Company: Contaminated Intimacy in Othello -- $$t22. Prehistory in Othello -- $$t23. Othello's Embarrassment in 1.2 and 1.3 -- $$t24. Desdemona on Cyprus: Act 2 Scene 1 -- $$t25. The Proclamation Scenes: Act 2 Scenes 2 and 3 -- $$t26. Dark Triangles in 3.3 -- $$t27. Desdemona's Greedy Ear -- $$t28. Impertinent Trifling: Desdemona's Handkerchief -- $$t29. On the Emilian Trail -- $$t30. Iago's Soliloquies -- $$t31. Othello's Infidelity -- $$t32. The Fury in Their Words 001477696 506__ $$aAccess limited to authorized users. 001477696 520__ $$aShakespeare's two Venetian plays are dominated by the discourse of embarrassment. The Merchant of Venice is a comedy of embarrassment, and Othello is a tragedy of embarrassment. This nomenclature is admittedly anachronistic, because the term "embarrassment" didn't enter the language until the late seventeenth century. To embarrass is to make someone feel awkward or uncomfortable, humiliated or ashamed. Such feelings may respond to specific acts of criticism, blame, or accusation. "To embarrass" is literally to "embar": to put up a barrier or deny access. The bar of embarrassment may be raised by unpleasant experiences. It may also be raised when people are denied access to things, persons, and states of being they desire or to which they feel entitled. The Venetian plays represent embarrassment not merely as a condition but as a weapon and as the wound the weapon inflicts. Characters in The Merchant of Venice and Othello devote their energies to embarrassing one another. But even when the weapon is sheathed, it makes its presence felt, as when Desdemona means to praise Othello and express her love for him: "I saw Othello's visage in his mind" (1.3.253). This suggests, among other things, that she didn't see it in his face. 001477696 538__ $$aMode of access: Internet via World Wide Web. 001477696 546__ $$aIn English. 001477696 5880_ $$aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 03. Jan 2023) 001477696 650_7 $$aLITERARY CRITICISM / European / English, Irish, Scottish, Welsh.$$2bisacsh 001477696 655_0 $$aElectronic books 001477696 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press Complete eBook-Package Pre-2014$$z9783111189604 001477696 77308 $$iTitle is part of eBook package:$$dDe Gruyter$$tFordham University Press eBook-Package Backlist 2000-2013$$z9783110707298 001477696 7760_ $$cprint$$z9780823241958 001477696 852__ $$bebk 001477696 85640 $$3De Gruyter$$uhttps://univsouthin.idm.oclc.org/login?url=https://www.degruyter.com/isbn/9780823290765$$zOnline Access 001477696 909CO $$ooai:library.usi.edu:1477696$$pGLOBAL_SET 001477696 912__ $$a978-3-11-070729-8 Fordham University Press eBook-Package Backlist 2000-2013$$c2000$$d2013 001477696 912__ $$a978-3-11-118960-4 Fordham University Press Complete eBook-Package Pre-2014$$b2014 001477696 912__ $$aEBA_BACKALL 001477696 912__ $$aEBA_CL_LT 001477696 912__ $$aEBA_EBACKALL 001477696 912__ $$aEBA_EBKALL 001477696 912__ $$aEBA_ECL_LT 001477696 912__ $$aEBA_EEBKALL 001477696 912__ $$aEBA_ESSHALL 001477696 912__ $$aEBA_PPALL 001477696 912__ $$aEBA_SSHALL 001477696 912__ $$aGBV-deGruyter-alles 001477696 912__ $$aPDA11SSHE 001477696 912__ $$aPDA13ENGE 001477696 912__ $$aPDA17SSHEE 001477696 912__ $$aPDA5EBK 001477696 980__ $$aBIB 001477696 980__ $$aEBOOK 001477696 982__ $$aEbook 001477696 983__ $$aOnline