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Othello – Language and Ideology

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Othello– Language and Ideology

Works of literature can be read as presenting challenges or endorsements of particular worth systems. Go over with referral to one or more works you have studied. With reference to Othello Endorses/promotes Challenges/undermines Naturalises/foregrounds/promotes Value systems Gender in society– female worth Bigotry (animalisation) Worth on look and track record Emphasis on language Heaven vs hell (spiritual imagery) Exotic/supernatural imagery Believing Gender.

Womanly and masculine ideology Womanhood deteriorated by affectations of charm Contrast between slap from Othello to shock of Lodovico civil society’s viewpoint is one of shock but typically females are “owned” and need to have “task” to somebody– so is this penalty of “divided task”? Desdemona needs to owe her responsibility someplace– selects to have “divided duty” Naturalised that ladies need to be “owned” by someone “That we can call these fragile creatures ours and not their apetites! (III. iii. 266) ladies can be owned but not managed Naturalised that ladies must be inferior to guys– so ladies are weakened and marked on in their feelings (such as jealousy and intrigue) Bianca’s jealousy in plain contrast to Othello– Cassio minimizes and ruins Bianca’s and doesn’t even listen, Othello believes the world is about to end Desdemona’s intrigue in what is taking place down listed below when told to go back to ed Desdemona forced to dismiss Emilia as this is Othello’s will– “I will do your bidding” Emilia informed not to meddle with guys’s affairs– “You are a fool, go to” Desdemona’s failure occurs after she horns in guys’s affairs in reinstatement of Cassio– “My lord will never ever rest” All women are representative of relationship that is naturalised in the text Male have power over ladies, checks out subjugation of ladies Idea is challenged ultimately by

Emilia’s death and tragedy of Emilia’s character as she just acquires the power of speech in death and ability to have an opinion when pulling away from and being disloyal to her other half, Iago Desdemona’s death due to her inability to safeguard herself in spite of speaking the truth Emilia not thought by Othello– “basic whore”, must be smart lie, not truthful The idea that if ladies are adulterers they must pass away is challenged introduced with photo of powerful womanhood: Desdemona betraying her dad and developing new obligation to various male, simultaneously undermined through needing to “owe obedience” Power has a hard time between couples and friends

Misogynistic attitudes (highly imposed by Iago)– makes relationships tough Question of love in between Iago and Desdemona? Emilia and Bianca? Iago and Roderigo? Iago and Cassio? Cassio and Othello? Othello and Iago? Iago and Desdemona At First Desdemona and Othello are isolated because they have an equal relationship– no disillusionment or discontentment– however are then reduced with play’s progression Naturalised that power struggles exist in between people

Not endorsed Supported but not verified in oppositions creating great couple– womanly gentleness requires his strong masculinity– ruined by masculine baseness Othello/Iago/Desdemona love triangle “wedding event” in between Iago and Othello So Women should be owned by someone (language, characterisation) Affectations of beauty weaken women (song– audio, language) Ladies ought to not meddle in a man’s affairs (plot, conflict) Subjugation of women, emotions marked out as nferior, broken down (language) Responses of civil society not representative or in relation to the ideas supported, however supports the idea that females are being dealt with unjustly (significant components) Depending on how it is read, a work of literature may have more than one significance. Go over with reference to at least one work you have studied. Othello Examples in the plot Othello overhearing conversation in between Iago and Cassio– misconstrues everything that is stated

Total examples/evidence/argument This holds true because: Othello’s character can be viewed as terrible figure, revenge figure, comical figure or insecure figure– justifying and interpreting the meanings of his actions in various methods Aristotle’s variation of the awful hero (not entirely good or evil but possessing a deadly defect to incite pity and fear in the audience) What is Othello? Moved too quickly to jealousy or perfect?

Stoic hero for suicide– following mentors of Greek theorist Zeno– supposedly indifferent to pain, bore suffering without grievance (Desdemona too) Of accursed race due to Christian belief in the Renaissance– suggested Africans were descendants of Noah’s kid, Ham, cursed by his dad Iago’s character never provides adequate validation to be clearly represented as doing what he does for one factor alone, so audiences make their own reasons could be any variety of things, offering various meanings for his actions relation to Iago as Machiavelli hanging social attitudes to various people at various times questioning whether he is entirely wicked Importance of Iago’s name, egoism and Santiago (spanish for Saint James)– Saint James was called St James the Moor-killer due to the fact that of his campaigns against the Moors Contextual vs modern audiences make meaning in different methods and require various elements for comprehending e. g. “moon” referrals for the Jacobean audiences angled plot and civil society/state affairs for contextual audience inspirations and common human emotions associate with modern-day audiences Contextual setting Venice: cosmopolitan location, appreciated by travellers for sensuous pleasures, credibility for spiritual zeal Loaded with double entendre– use of language, sign of handkerchief, opposites and opposition, surrounding theory of thoughts Different individuals establish different meanings: e. g. why is the ethical of the text not simply for a black/white couple not to be together? How ideas are transmitted Meaning is made!!!!! in accordance with method, affected by reading strategies Orson Welles: directed and lead i=his own 1952 movie version of the play– felt Iago was inspired by impotence Freudian interpretation suggests Iago is subconciously in love with Othello Coleridge suggests Iago was a character of “motiveless malignity” Characters actions and downfall triggered by their good functions Go over the value of language included in at least one play you have actually studied. Utilizes language to develop and construct remarkable atmosphere– to define time, location and character Medium by which drama is communicated

Language is the action Othello falls because he believes a male whose every utterance is misleading Contrast and impact on relationships– Iago and Emilia, Othello and Desdemona Power of words Characters construct their own and others identities through language specific idioms for each– comparing language of Othello and Iago and theme of opposition Othello: dignified, measured, blank verse, significant, unique, clear and purposeful– helps develop heroism and defines rank, seduces Desdemona through language G.

Wilson-Knight of Othello’s speech: “highly coloured … magnificent … rich in sound and phrase”, “distinctively soldierly accuracy”, “peculiar chastity and peacefulness of thought” “Keep up your bright swords, for the dew will rust them.” (I. ii. 59) Break down and fall illustrated through language– deterioration to goriness and animalisation that Iago uses and finally turn to third individual– indication of craziness, fractured sense of self, disjointed prose rather than determined verse Irony: “It is not words that makes me thus” (IV.) breakdown in marital harmony over language– no longer able to interact, Othello misunderstands whatever she states (same with Iago and Emilia) usage of soliloquies and asides– audience becomes extension of character’s mind Iago; filled with substances, colloquialism, oaths, slips in between verse and prose adapting style to suit purpose blunt convincing and lucid exchanges with Roderigo loftier design speaking with Othello reveals he can manipulate anybody reveals himself, cunning, devastating power, in asides oliloquies strengthen his computing power– many by him, feeling shakespeare forces audience to collude with him defiant and deliberate silence the only power he has actually left feigning hesitation to talk methods he gains power to speak at length took Emilia’s silence for approved, unmasked by his spouse– dramatic paradox relieves significant tension of the play Exert power by speaking or remaining quiet or silencing others Power of language related to track record and class Blank verse and prose unrhymed iambic pentameter

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