able to see what Bento tries to do, which is to play the victim in the story. Driven by jealousy and self-consciousness, Bento tries to persuade the reader that he is being victimised. His closed-mindedness, constant need to reassure and use of allusions are all powerful yet ineffective ways in which he tries to be judged as innocent. Bento’s lack of ability to understand leads him to creating theories in his head in order to support what makes sense to him. Machado shows Bento trying to rationalise
within Othello is a perplexing character, his true intentions are buried deep in deception and deviance that help create who he is. The heinous goals he sets out to achieve are unfathomable, yet without his presence Othello would be nothing more than a romantic drama. Iago is the villain we love to hate; he is the sole instigator of the tragic events that take place within Othello. And yet still Iago is one of the most complex characters within Shakespearean tragedy. In order for Othello to be as
The article attempts to read Shakespeare in a New-Historicist perspective. We find Shakespeare’s Othello as a literary deviation of history. Consequently, the text is decentered on a contesting principle. By contest, we mean a reference to Shakespeare’s New-Historicist perception of history. Shakespeare contests and doubts the historical Othello who in fact led the readers into finding resemblances with King James I. In the process, even the Roman Emperor Marcus Salvius Otho Caesar Augustus who existed
In the play Othello, written by Shakespeare, the death of Othello and Desdemona help illuminate important themes present throughout the play. Once Othello passes over Iago for a special position, Iago sets out to destroy all that Othello loves. Meanwhile, Othello falls hopelessly in love with Desdemona and gives Iago the perfect opportunity to collect his vengeance. Iago consistently manipulates the truth to construct the allusion that Desdemona and Cassio are having an affair. Specifically, Act
The first act of Othello is a microcosm of sorts for the entire play. In the first act, the reader sees Iago infect two characters with his evil methods, which are reflections of Iagos’ maneuvers in the subsequent Acts of the play, those Acts which progress according to Iago’s actions. In Shakespeare’s Othello, the characters’ strong and symbolic diction is an essential element in the progression of the events of the play. In considering the character of Iago with respect to his diction, the reader
Abstract The project presents a cinematic overview of a popularly known play by William Shakespeare, Othello. A conceptualized analysis of text and context, of theatre and cinema, of William Shakespeare’s Othello and Vishal Bharadwaj’s Omkara. Othello itself is a pioneer of the tragedies written by William Shakespeare and the Indian context of Othello is as appealing as the text itself. It is a tragically moulded plot around a moor, a moor of Venice as the title suggests. Omkara more or less is the
According to Chomsky (1973:402) “Language is a process of free creation; its laws and principles are fixed, but the manner in which the principles of generation are used is free and infinitely varied. Even the interpretation and use of words involves a process of free creation.” Literature is an excellent example of how language can be infinitely restructured and manipulated in the act of creation. Language must at all times be relevant to the moment and the situation (Simpson, 1997:8). Heilman
are co-existing functions that assist in operating societies. Since ancient times, social classes have existed within all communities and cultures; a sense of belonging is often determined by one’s position in the social hierarchy. Shakespeare’s Othello highlights determinants including race and gender that affect one’s standing in the hierarchy. An excerpt of Act 1, Scene 1 (Lines 110-112) explores this concept when Iago exclaims “Because we come to do you service and you think we are ruffians,
Shakespeare is often referred to as a man before his time, or even called a feminist. He revered amongst many audience members for his use of the woman in his plays. Others disagree, saying Ole Willy Shakes is a misogynist who hated women. Neither of the extremes is completely accurate, and neither have claims that could be taken very far. Shakespeare lives somewhere between being a feminist and being a misogynist, he uses female character radically; for his time at least. As explained by Bianca-Oana
which leads an individual to the commission of self-murder, was one not likely to escape the careful observation and comment of the great psychologist of the sixteenth century ; therefore, scattered throughout the whole extent of his works, we find allusions to this subject, characterized by that deep, philosophical, and comprehensive knowledge of the motives and mainsprings of human action, which, as we have taken occasion frequently to remark, places him preeminently above all others of ancient or