Is Othello a Racist Play
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Iago and His Motives Under Modern Eyes Amany Abdelrazik
International Journal of English Literature and Social Sciences (IJELS) Vol-3, Issue-4, Jul - Aug, 2018 https://dx.doi.org/10.22161/ijels.3.4.28 ISSN: 2456-7620 Iago and His Motives under Modern Eyes Amany Abdelrazik PHD Researcher - Freie Universität Berlin, Germany Abstract—Shakespeare's plays depict the turn from the to the issues which appear in Othello have greatly pre-modern era with its traditional values and mores into changed between Shakespeare’s time and our the modern approach towards life and individuals. These own...” (Holloway, 1961, p. 155), I am encouraged plays deal with specific questions that were significant in to re-read Iago´s behaviour in light of modern Shakespeare's time and his cultural contexts, such as the thought that could satisfy the modern individual mores and meanings of Christian values in the society, understanding without taking the text out of its the rise of humanism, monarchy and questions related to original context. the economy. Nonetheless, Shakespeare´s questions on Rereading Iago´s behaviour through the religious values and the modern individual seem to be modern lens, I am going to contradict relevant today, in particular, with the recent post-modern Coleridge´s claim of Iago´s “motiveless discussions on the limits of secular rational modernity malignity” through trying out two and a return to a new condition of believing in arguments. Firstly, I argue that Iago´s contemporary societies. Taking the character of Iago as motives lurked inside his own narcissist my reference point, I shall attempt to reread Iago´s character that believed deeply in the actions and psyche in light of a critique of the narcissist individual’s willpower. -
Romeo and Juliet
Upstart Crow Vol. XII Digital Facsimile THE • VPSTART • CROW Editor James Andreas Clemson Unioersity Founding Editor William Bennett The Unioersity of Tennessee at Martin Associate Editors Michael Cohen Murray State Unioersity Herbert Coursen Bowdoin College Marjorie Garber Haroard Unioersity Charles Frey The Unioersity of Washington Walter Haden The Unioersity of Tennessee at Martin Chris Hassel Vanderbilt Unioersity Maurice Hunt Baylor Unioersity Richard Levin The Unioersity of California, Daois Richard Mears Drury College John McDaniel Middle Tennessee State Unioersity Peter Pauls The Unioersity of Winnipeg Paul Ramsey The Unioersity of Tennessee at Chattanooga Production Editor Tharon Howard Editorial Assistants John Bailey, Laura Blume, Mary Eberhart, David Fisher, Charlotte Holt Kaushiki Maitra, Pearl Parker, Judy Payne, John Sherrer Copyright 1992 Clemson University All Rights Reserved Clemson University Digital Press Upstart Crow Vol. XII Digital Facsimile About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. - T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opin ions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diversity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $12 Institutions and Libraries, same rate as individuals - $12 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double spaced typed pages, including notes. -
The Elusive Ensign: Towards a “ Grammar” of Iago's Motives
The elusive ensign: towards a “grammar” of Iago’s motives Keith Gregor UNIVERSIDAD DE MURCIA Of all Iago’s gestures few are more unsettling than his defiant final words to his captors: “De- mand me nothing; what you know, you know: /From this time forth I never will speak word” (5. 2. 300-1)1. And so his part in Othello concludes, the real reasons for his “fault” being left for his torturers’ ears —and to the audience’s imagination. No one would “demand” him anything, were it not for that endless dialogue between work and interpreter which has been the hallmark of post- early modern critical practice. Just as art is seen to begin at the edges of the author’s “existential reality”, so the disappearance of the player is regarded as the condition of his re-birth as a character. In the case of Iago, this re-birth tends to hinge on the recovery of that most elusive element: the ensign’s motives. The concept of character would then seem inseparable from an account of motivation. After all, both concepts emerge at the same historical moment. Elizabethans, it seems, explained action in terms of a taxonomy of humours or the equally venerable dichotomy of virtue and vice (Scragg 1968). The “motiveless malignity” which Coleridge found lurking in Iago would mean little to an audience which, as Bradbrook noted, “did not expect every character to produce one rational explanation for every given action” (1983, 59-60). Iago’s silence would thus be an adequate response for an audience which failed, or simply refused, to see beyond the deed. -
Othello, 1955
University of Montana ScholarWorks at University of Montana Montana Masquers Event Programs, 1913-1978 University of Montana Publications 11-16-1955 Othello, 1955 Montana State University (Missoula, Mont.). Montana Masquers (Theater group) Follow this and additional works at: https://scholarworks.umt.edu/montanamasquersprograms Let us know how access to this document benefits ou.y Recommended Citation Montana State University (Missoula, Mont.). Montana Masquers (Theater group), "Othello, 1955" (1955). Montana Masquers Event Programs, 1913-1978. 105. https://scholarworks.umt.edu/montanamasquersprograms/105 This Program is brought to you for free and open access by the University of Montana Publications at ScholarWorks at University of Montana. It has been accepted for inclusion in Montana Masquers Event Programs, 1913-1978 by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. William Shakespeare's Fifty-First Season MONTANA MASQUERS Present William Shakespeare's OTHELLO LEROY W. HINZE, Director CLEMEN M. PECK, Designer and Technical Director •Original Music by MONROE C. DEJARNETTE CAST PRODUCTION STAFF In Order of Appearance Assistant to the Director....Sheila Sullivan Roderigo...............................................Harold Hansen Production Manager for touring company Stage Manager ..................... Ray Halubka | Iago............................................William Nye Electrician .......... ...................Bruce Cusker Brabantio ................................Bruce -
The Upstart Crow: a Shakespeare Journal C
n remembrance of sustaining support of our literary en- Journal Shakespeare A Crow: Upstart e Th Th e terprise in years past, the Editors gratefully acknowledge I our continuing alliance with the Brooks Center for the pstart Performing Arts and members of the annual Clemson Shakespeare Festival Steering Committee. row UA SShakespeareShha Journal The Upstart Crow: A Shakespeare Journal C One-year subscription institutional $22 individual $17 Two-year subscription XXVII 2007/2008 Volume institutional $32 individual $27 Shakespeare Three-year subscription institutional $42 individual $37 Back Issues $15 and Complete sets $300 Please send all Editorial Correspondence to the address below. The Upstart Crow: A Shakespeare Journal Tourism Department of English Clemson University Strode Tower Box 340523 Clemson, SC 29634-0523 Telephone (864) 656-3151 Fax (864) 656-1345 Vist our website at http://www.clemson.edu/caah/cedp/crow Volume XXVII 2007/2008 The Upstart Crow: A Shakespeare Journal, Volume XXVII, 2007/2008 is pub- “There is an upstart crow beautifi ed with our feathers that, with his lished by Clemson University Digital Press. © 2008 Clemson University ISSN: 0886-2168 ‘tiger’s heart wrapped in a player’s hide,’ supposes he is as well able to bombast out a blank verse as the best of you; being an absolute Johannes Factotum, in his conceit the only shake-scene in a coun- EDITOR try.” Elizabeth Rivlin — Robert Greene, Groatsworth of Wit (1592) INTERIM EDITOR Brian McGrath CLEMSON UNIVERSITY Z DIGITAL PRESS ASSOCIATE EDITORS For those persons who have become subscribers this year, I want to Ray Barfi eld, Wayne Chapman, Jonathan Field, Martin Jacobi, Michael LeMahieu, welcome you and extend my personal thanks to you, as well as to continuing Chantelle MacPhee, and Lee Morrissey subscribers, for your support. -
Gesture and Movement in Silent Shakespeare Films
Gesticulated Shakespeare: Gesture and Movement in Silent Shakespeare Films Thesis Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the Graduate School of The Ohio State University By Jennifer Rebecca Collins, B.A. Graduate Program in Theatre The Ohio State University 2011 Thesis Committee: Alan Woods, Advisor Janet Parrott Copyright by Jennifer Rebecca Collins 2011 Abstract The purpose of this study is to dissect the gesticulation used in the films made during the silent era that were adaptations of William Shakespeare's plays. In particular, this study investigates the use of nineteenth and twentieth century established gesture in the Shakespearean film adaptations from 1899-1922. The gestures described and illustrated by published gesture manuals are juxtaposed with at least one leading actor from each film. The research involves films from the experimental phase (1899-1907), the transitional phase (1908-1913), and the feature film phase (1912-1922). Specifically, the films are: King John (1899), Le Duel d'Hamlet (1900), La Diable et la Statue (1901), Duel Scene from Macbeth (1905), The Taming of the Shrew (1908), The Tempest (1908), A Midsummer Night's Dream (1909), Il Mercante di Venezia (1910), Re Lear (1910), Romeo Turns Bandit (1910), Twelfth Night (1910), A Winter's Tale (1910), Desdemona (1911), Richard III (1911), The Life and Death of King Richard III (1912), Romeo e Giulietta (1912), Cymbeline (1913), Hamlet (1913), King Lear (1916), Hamlet: Drama of Vengeance (1920), and Othello (1922). The gestures used by actors in the films are compared with Gilbert Austin's Chironomia or A Treatise on Rhetorical Delivery (1806), Henry Siddons' Practical Illustrations of Rhetorical Gesture and Action; Adapted to The English Drama: From a Work on the Subject by M. -
Bianca and Cassio's Relationship in <Em>Othello</Em>
Marquette University From the SelectedWorks of Sarah E. Thompson 2012 "I Am No Strumpet": Bianca and Cassio's Relationship in <em>Othello</em> Sarah E. Thompson, Marquette University Available at: https://works.bepress.com/sarah_thompson/1/ 1 Sarah Thompson English 6220 December 12, 2012 “I Am No Strumpet”: Bianca and Cassio’s Relationship in Othello Throughout the critical history of Shakespeare’s Othello, audiences and critics alike have identified love and sexuality as major themes of the play. Indeed, there are many who would argue that the play as a whole is an examination of heterosexual relationships, with all the concerns, such as sexual anxieties, gender inequalities, and emotional struggles that accompany this subject. Discussions of Othello’s portrayal of the relationships between men and women integrate any number of other facets of literary study, such as the psychological factors that shape the relationships of Othello and Desdemona or Iago and Emilia, or the cultural expectations for gender and marriage during the Renaissance, and how these expectations are both upheld and critiqued in Othello, or how the genre elements of sex, or love, tragedies influence the play’s action and the audience’s expectations for the play. Many critics who examine the married relationships focus on the feminine roles that Desdemona and Emilia fill or challenge, while others study the masculine perspectives of these relationships, and seek to explore what prompts Iago’s seeming “hatred of his wife and all women,”1 or Othello’s obsession with Desdemona’s sexuality, and his self-doubts, frequently linked to his age and racial status, about his ability to satisfy her in their relationship. -
Othello As an Enigma to Himself: a Jungian Approach to Character Analysis Eric Iliff Eastern Washington University
Eastern Washington University EWU Digital Commons EWU Masters Thesis Collection Student Research and Creative Works 2013 Othello as an enigma to himself: a Jungian approach to character analysis Eric Iliff Eastern Washington University Follow this and additional works at: http://dc.ewu.edu/theses Part of the English Language and Literature Commons Recommended Citation Iliff, Eric, "Othello as an enigma to himself: a Jungian approach to character analysis" (2013). EWU Masters Thesis Collection. 138. http://dc.ewu.edu/theses/138 This Thesis is brought to you for free and open access by the Student Research and Creative Works at EWU Digital Commons. It has been accepted for inclusion in EWU Masters Thesis Collection by an authorized administrator of EWU Digital Commons. For more information, please contact [email protected]. Othello as an Enigma to Himself: A Jungian Approach to Character Analysis A Thesis Presented to Eastern Washington University Cheney, Wa In Partial Fulfillment of the Requirements For the Degree Master of Arts (Literary Studies) By Eric Iliff Spring 2013 I l i f f ii THESIS OF ERIC ILIFF APPROVED BY Dr. Grant Smith, Chair, Graduate Study Committee Date Dr. Philip Weller, Graduate Study Committee Date Dr. Martha Raske, Graduate Study Committee Date I l i f f iii Table of Contents Introductio n .................................................................................................................................................. 1 Procedure ..................................................................................................................................................... -
A Level Literature Paper One – Othello - Knowledge Organiser Assessment: Essay on a Critical View of Love in Othello Supported by an Extract
A Level Literature Paper One – Othello - Knowledge Organiser Assessment: Essay on a critical view of love in Othello supported by an extract. Possible topics: Attitudes to love of the key characters (Othello, Desdemona, Emilia, Iago, Brabantio, Roderigo, Cassio,), father/daughter love, love and marriage, female attitudes to love, male attitudes to love, love and race, sex and desire, love and control, jealousy, love and honour, love and class. “I am not what I am” – Iago (1.1) “An old black ram is tupping your white ewe” – Iago (1.1) “she shunned the wealthy curled darlings of our “for your sake, jewel, I am glad at soul I have no nation… run from her guardage to the sooty bosom other child” “she has deceived her father and may of such a thing as thou” – Brabantio (1.2) thee” Brabantio (1.3) “moth of peace” – Desdemona (1.3) “she gave me for my pains a world of sighs”, “she loved me for the dangers I had passed” – Othello about him and Desdemona’s love (1.3) “twixt my sheets, he’s done my office” – Iago’s “I will incontinently drown myself” Roderigo as suspicions (1.3) Petrarchan lover (1.3) “My fair warrior” – Othello (2.1) “to suckle fools and chronicle small beer” – Iago (2.1) “the divine Desdemona” – Cassio (2.1) “The riches of the ship is come onshore” – Cassio (2.1) “I do suspect the lusty Moor, hath leap’d into my “most fresh and delicate creature” – Cassio seat” – Iago 2.1 Versus “full of game” – Iago (2.3) “Are we turned Turk?” – Othello 2.3 “His soul is so enfettered to her love” – Iago (2.3) “Out of her own goodness make the -
(Un)Doing Desdemona: Gender, Fetish, and Erotic Materialty in Othello
(UN)DOING DESDEMONA: GENDER, FETISH, AND EROTIC MATERIALTY IN OTHELLO A Thesis submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Master of Arts in English and American Literature By Perry D. Guevara, B.A. Washington, DC May 1, 2009 Dedicated to Cecilia (and Francisco, in memoriam) ii Acknowledgements (Un)Doing Desdemona: Gender, Fetish, and Erotic Materiality in Othello began as a suspicion—a mere twinkle of an idea—while reading Othello for Mimi Yiu's graduate seminar Shakespeare's Exotic Romances. I am indebted to Dr. Yiu for serving as my thesis advisor and for seeing this project through to its conclusion. I am also thankful to Ricardo Ortiz for serving on my oral exam committee and for ensuring that my ideas are carefully thought through. Thanks also to Lena Orlin, Dana Luciano, Patrick O'Malley, and M. Lindsay Kaplan for their continued instruction and encouragement. The feedback I received from Jonathan Goldberg (Emory University) and Mario DiGangi (City University University of New York—Graduate Center) proved particularly helpful during the final phases of writing. Furthermore, my thesis owes its life to my peers, not only for their generous feedback, but also for their invaluable friendship, especially Roya Biggie, Olga Tsyganova, Renata Marchione, Michael Ferrier, and Anna Kruse. Finally, I would like to thank my parents, Donna and Jess Guevara, for their unconditional love and support even though they think my work is “over their heads.” iii Table of Contents Introduction .........................................................................................................................1 Desdemona's Dildo............................................................................................................18 Coda ..................................................................................................................................68 iv I. -
Othello and the "Plain Face" of Racism Author(S): Martin Orkin Source: Shakespeare Quarterly, Vol
George Washington University Othello and the "plain face" Of Racism Author(s): Martin Orkin Source: Shakespeare Quarterly, Vol. 38, No. 2 (Summer, 1987), pp. 166-188 Published by: Folger Shakespeare Library in association with George Washington University Stable URL: http://www.jstor.org/stable/2870559 . Accessed: 16/07/2011 13:30 Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you may use content in the JSTOR archive only for your personal, non-commercial use. Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at . http://www.jstor.org/action/showPublisher?publisherCode=folger. Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed page of such transmission. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Folger Shakespeare Library and George Washington University are collaborating with JSTOR to digitize, preserve and extend access to Shakespeare Quarterly. http://www.jstor.org Othello and the "plain face" Of Racism MARTIN ORKIN OLOMON T. -
The • Vpstart • Cr.Ow
Vol. XV THE • VPSTART • CR.OW Editor James Andreas Clemson University Founding Editor William Bennett The University of Tennessee at Martin Associate Editors Michael Cohen Murray State University Herbert Coursen Bowdoin College Charles Frey The University of Washington Marjorie Garber Harvard University Walter Haden The University of Tennessee at Martin Maurice Hunt Baylor University Richard Levin The University of California, Davis John McDaniel Middle Tennessee State University Peter Pauls The University of Winnipeg Jeanne Roberts American University Production Editors Tharon Howard and Irfan Tak Clemson University Editorial Assistants Kim Bell, Laurie Brown, Pearl Parker, Judy Payne, Heather Pecoraro, and Jeannie Sullivan Copyright 1995 Clemson University All Rights Reserved Clemson University Digital Press Digital Facsimile Vol. XV About anyone so great as Shakespeare, it is probable that we can never be right, it is better that we should from time to time change our way of being wrong. - T. S. Eliot What we have to do is to be forever curiously testing new opinions and courting new impressions. -Walter Pater The problems (of the arts) are always indefinite, the results are always debatable, and the final approval always uncertain. -Paul Valery Essays chosen for publication do not necessarily represent opin ions of the editor, associate editors, or schools with which any contributor is associated. The published essays represent a diver sity of approaches and opinions which we hope will stimulate interest and further scholarship. Subscription Information Two issues- $12 Institutions and Libraries, same rate as individuals- $12 two issues Submission of Manuscripts Essays submitted for publication should not exceed fifteen to twenty double spaced typed pages, including notes.