A fury in the words [electronic resource] : love and embarrassment in Shakespeare's Venice / Harry Berger, Jr.
Berger, Harry, Jr., 1924-
2013
PR3069.E375 B47 2013eb
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Title A fury in the words [electronic resource] : love and embarrassment in Shakespeare's Venice / Harry Berger, Jr.
Author Berger, Harry, Jr., 1924-
Edition 1st ed.
ISBN 9780823246205 (electronic bk.)
9780823241941
9780823241958 (pbk.)
Imprint New York : Fordham University Press, 2013.
Language English
Description 1 online resource (x, 229 p.)
Call Number PR3069.E375 B47 2013eb
Dewey Decimal Classification 822.3/3
Summary "Shakespeare'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."--Publisher's website.
Bibliography, etc. Note Includes bibliographical references.
Access Note Access limited to authorized users.
Source of Description Description based on print version record.
Available in Other Form Fury in the words.
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Mercifixion in The merchant of Venice: the riches of embarrassment
Introduction
Negotiating the bond
Antonio's blues
Curiositas: the two Sallies
Negative usury and the arts of embarrassment
Negative usury: Portia's ring trick
Portia the embarrasser
The archery of embarrassment
The first Jason
A note on verse and prose in Act 1
Another Jason
Portia cheating
Portia's hair
The siege of Belmont
Covinous casketeers
Moonlit maundering
Coigns of vantage
Standing for judgment
Standing for sacrifice
"Here is the money": Bassanio in the bond market
Twilight in Belmont: Portia's ring cycle
Death in Venice
Three's company: contaminated intimacy in Othello. Prehistory in Othello
Othello's embarrassment in 1.2 and 1.3
The proclamation scenes: Act 2 scenes 2 and 3
Desdemona on Cyprus: Act 2 scene 1
Dark triangles in 3.3
Desdemona's greedy ear
Impertinent trifling: Desdemona's handkerchief
The Emilian trail
Iago's soliloquies
Othello's endgame
The fury in her words.

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