Othello : ‘A pageant to keep us in false gaze’ ou la part de l’invisible aperçu occultement

Cette étude traite de la thématique du seuil et de la liminalité dans Othello dans la perspective de l’adaptation cinématographique. Le texte établit une corrélation fascinante entre Iago et Janus, dieu romain des seuils et des portes mais encore dieu du commencement de toute chose. En tant que tel, Iago préside à de nombreux débuts, amorçant la perception, visuelle autant que verbale, pour aussitôt la réprimer. Le film de Parker dramatise cette caractéristique en montrant très fréquemment Iago se tenant dans l’embrasure ou sur le seuil d’une porte, entre l’intérieur et l’extérieur. Othello lui-même va se trouver placé en-deçà des signes, sur le seuil perceptuel, où le personnage est amené à constater la perdition de sa femme à travers des obstacles qui ont la ténuité (toute chimérique) de la toile d’araignée. Ainsi, le voir se fait-il «transvoir» dans le film de Parker comme dans la version russe, plus ancienne, de Sergei Yutkevitch. À l’indirection et à la déformation de la vision, Parker ajoute encore une dimension métadramatique par laquelle Iago passe de l’autre côté de la caméra, plaçant sa main sur l’objectif de manière à occulter tout à fait l’image. Iago, en tant qu’enseigne («ensign»), apparaît bel et bien comme le maître incontesté des signes.This paper considers the theme of liminality and threshold in Shakespeare’s Othello from the perspective of film adaptations of the play. The text establishes a most fascinating relation between Iago and Janus, the Roman god of doorways and thresholds, and patron of beginnings. As such, Iago presides over all sorts of beginnings, initiating the perception, visual as much as verbal, only to repress it immediately, leading Othello to the threshold of the visible and keeping him there. In Parker’s film adaptation, Iago is found on many occasions lurking behind the other characters or dangling on a threshold, between inside and outside while Othello, confined on the threshold, is to contemplate his wife’s adultery from outside the bedchamber through some transparent as much as opaque veil, hence a screened vision of reality, as found in both Parker’s film and the older Russian version by Sergei Yutkevitch. There is another perceptual threshold in the metadramatic dimension of the play, exploited at length by Parker, who has Iago grasp a red hot brand and spread some soot over his hands before placing his blackened hand over the lens of the camera with the effect of a black-out. Iago appears as the absolute master of the gaze, showing and hiding things at will

Identification of a Proliferation Gene Cluster Associated with HPV E6/E7 Expression Level and Viral DNA Load in Invasive Cervical Carcinoma

Specific HPV DNA sequences are associated with more than 90% of invasive carcinomas of the uterine cervix. Viral E6 and E7 oncogenes are key mediators in cell transformation by disrupting TP53 and RB pathways. To investigate molecular mechanisms involved in the progression of invasive cervical carcinoma, we performed a gene expression study on cases selected according to viral and clinical parameters. Using Coupled Two-Way Clustering and Sorting Points Into Neighbourhoods methods, we identified a Cervical Cancer Proliferation Cluster composed of 163 highly correlated transcripts, many of which corresponded to E2F pathway genes controlling cell proliferation, whereas no primary TP53 targets were present in this cluster. The average expression level of the genes of this cluster was higher in tumours with an early relapse than in tumours with a favourable course (P=0.026). Moreover, we found that E6/E7 mRNA expression level was positively correlated with the expression level of the cluster genes and with viral DNA load. These findings suggest that HPV E6/E7 expression level plays a key role in the progression of invasive carcinoma of the uterine cervix via the deregulation of cellular genes controlling tumour cell proliferation. HPV expression level may thus correspond to a biological marker useful for prognosis assessment and specific therapy of the disease

Fiche «Casino de Paris, dir. André Hunebelle (1957)»

Fiche de base de données contenant le générique du film, un synopsis, une description détaillée du passage contenant la ou les références à Shakespeare, citation(s) shakespearienne(s)Autres productionsInternational audienc

Thomas Heywood, Troia Britanica (1609), Canto XV

Éditions critiques en ligne : http://www.shakmyth.org/page/Early+Modern+Mythological+Texts%3A+Troia+Britanica+XV+%281-50%29International audienc