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who wrote about the inevitability of tragedy in Shakesperian plays
david scott katsan
what sort of logic did katsan say Shakesperian tragedies have → maybe link to Iago
‘desolating, controlling logic’
who wrote about the tragic hero in shakespeare - is this Othello or could it be Desdemona?
A C Bradley
what does Bradley argue tragic heroes like Othello are, and how might we undermine Othello as a tragic hero/how does his ending become more ambiguous
retain status and significance, othello is simultaneously a hero and the ‘other’
who talked about the simulatenous fantasy of othello [quote]
ania loomba, ‘othello is simultaneously a fantasy of interracial love and social tolerance, and a nightmare of racial hatred and masculinity’
who explored the uncomfortable and inexplicable pleasure we gain from tragedy
A. D. Nuttall
building on Nuttall’s interpretation of the pleasure of tragedy, who could we say the audience is perhaps likened to/complicit with in the construction of the play
iago
who talks about the civilising power of love (e.g. through changing language) in Othello
Catherine Bates
what did Samuel Taylor Coleridge describe Iago as
the motive hunting of a motiveless malignity
how does Samuel taylor Coleridge describe the changes to Othello and our perception of him
othello first becomes our acquaintance, then our friend, then the object of our anxiety
who talked about female sexuality as all encompassing and the gaping ‘nothing’, which scares men
terry eagleton
who analyses the strawberry handkerchief as a symbol of virginity and consumation
lynda boose
who identifies how the three women of the play, all of different statuses, face charges of sexual misconduct and respond to these charges in different ways
lisa jardine
what scene does othello publicly defame desdemona
act 4 scene 2
what solidifies Desdemona’s reputation as being ruined
when Emilia overhears Othello (private into public sphere)
who compared Othello to Adam and the temptation in the garden of eden
Irving Ribner
who describes ‘honest’ Iago merely as a magnifying glass for the tensions already present in Venice and in Othello’s marriage to Desdemona
Hao You
who argued that Iago no longer represents the ubiquity of Satan (for a modern audience) but instead racial aggression
germaine greer
who argued Shakespeare’s plays present women and men as equals, and what scene might support this
dusinberre, 4.3
who argued that desdemona transgresses social norms of the play, and is punished as a desiring women, but is presented throughout by Shakespeare as sympathetic and virtuous
karen newman
what did J. W. Lever argue about tragedy and the tragic hero
Lever argued tragedies are about societies not the heroes, and its society which stands condemned at the end
who said that interpeting shakespeare’s villains as evil deflects away from the political significance of the play
dolimore and sinfield
what work was Othello inspired by
Cinthio’s Hecatommithi
in Hecatommithi, why does Iago start the drama between the moor and Desdemona - arguably different/more implicit in Othello
he’s in love with Desdemona and jealous
what year was there a production of Othello where all characters but Othello were black, subverting/exploring the outsider-insider status and cultural differences
1997
what wars take place in the backdrop of othello
ottoman-venetian wars
what were the ottoman-venetian wars also a conflict of
islam vs christianity
Iago’s references to Othello as ‘black’ are also loaded with what
moral undertones
what classical tragic traits does othello possess
hamartia (fatal flaw), anagnorisis (becoming aware of his mistake) and catharsis (in a way)
how could we question the tragedy of othello
treatment of othello’s fatal flaw, complex role of iago
how many times is the word ‘honest’ used in the play (most regularly repeated word)
52 times
what quote could be seen as capturing the oxymoronic status of Othello according to the Venetians, and how does Iago describe him
‘noble moor’, ‘erring barbarian’
when does a double time scheme emerge (days/weeks passing without a scene break)
act 3 scene 3
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