Apart from Russia, Central Africa and the Caribbeans have the highest average death rates of regions on Earth. Death is a pretty common occurrence, and—it appears—through the vicissitudes of the game you have died.

Better luck next time!

Despite having some access to education, actual success through it varies significantly as the resources are scarce. For instance, postsecondary education only shares 1% of educational spending in Martinique, so access to it is extremely limited.

In Black Shack Alley, José’s quarter scholarship—not enough to support his education—causes his mother to lament that they are “black, poor, and alone in the world” (Zobel 125): their station in Martinican society prevented their access to the already limited resource.

Based only on the framing analysis of Sax’s Othello, I want to write a piece analyzing collectively grip (lighting) and gaffing (framing) of the films, specifically with a contrast as much as possible to the original text’s discussion of framing in, for instance, stage directions. In Sax’s Othello, Iago’s musings are always framed medium-close from below, with lighting coming from above: the framing helps show a sense of “ascension” (perhaps not unintentionally biblical, like an ascension to heaven), showing how Iago’s schemes are helping him rise through the ranks: a sign of his desire for power. I want to continue to analyses these types of connection between the grip and gaffing throughout the films to help reveal the differing power welded by the various screenwriters’ differing analysis on Shakespeare’s characters.

“Dialogue tends towards minimalism; instead, Bhardwaj relies heavily on extradiegetic and intradiegetic instrumental and vocal music”

While both a lust for Othello’s power and Rodrigo’s provocations of Iago drove him initially to begin his scheme, it is Iago’s internal racist hatred of Othello as a person that allowed his plot to fully come to fruition.

Establish pattern two othellos: othello the person “the moor”, and othello the general “othello”

The four texts’ Iagos can be treated in the same framework of “love”–hatred, whether racial or otherwise, for Othello—versus “respect”—deference to the authority of Othello.

Literacy rates differ significantly between genders in Central Africa. In rural Nigeria, there is a 24.1% difference in literacy rates between men and women.

In Joys of Motherhood, Adankwo’s natural and implicitly differentiated treatment of Nhu Ego’s sons and daughters reflects the androcentrism in Nigerian society’s view of education; in the work, she asks Nhu Ego to not “forget the … twin [girl’s] bride prices will help out … boy’s school fees.” (Emecheta 127)