Othello Detailed Criticism
- Created by: madeleineross
- Created on: 01-04-19 14:49
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- G Wilson Knight 1930
- 'Outstanding differences'
- Pechter: 'our willingness, even eagerness, to engage with the play's disturbing sexuality'
- Othello's career = cause of undoing
- Gardner - 'Othello's absolute soldiership is the symbol of his entire masculinity'
- Blackness Made Visible Philip. C. Kolin
- Cultural seismograph
- 1979 - Paul Winfield - letter protesting him kissing a white woman
- Apartheid
- Moved from erasure to emancipation
- 20th century criticism harsher on Othello
- TS Eliot - cheering himself up
- FR Leavis 'the essential traitor is within the gates'
- Bradley - 'Noble Moor'
- TS Eliot - cheering himself up
- 'She can do nothing whatever. She cannot retaliate even in speech'
- Julian C Rice - 'she shares responsibility for her own murder'
- 'Othello is the most powerfully exciting and the most terrible
- Neill - Iago usurps Des & Cassio's positions - Othello becomes 'occupied territory'
- Coleridge - 'Desdemona has no character at all'
- Bradley - 'Noble Moor'
- 20th century criticism harsher on Othello
- Moved from erasure to emancipation
- Contemporary feminists - post-millennial battered wife
- Ruth Vanita
- Adamson - 'Desdemona's innocence coexists with rich sexuality'
- Burke - 'ownership in the profoundest sense of ownership'
- Othello Criticism
- Susan Snyder
- Gardner - 'distaste for the heroic'
- 18th and 19th C regularly cut out Willow Scene
- Contradictions between women's body = property and 'cannot control their appetites'
- 18th and 19th C regularly cut out Willow Scene
- Gardner - 'distaste for the heroic'
- Othello and Interpretive Traditions - Pechter
- Links to OJ Simpson Case
- earliest recorded performance - 1st Nov 1604
- 2nd revival - restoration - initially very popular
- Edmund Lean - premier Othello 19th century
- Preston - 'Othello was a white man'
- anti-catholic feeling difficult to exaggerate
- 'Iago's blatant misogyny... represented an entirely unexceptional story to the play's first audience'
- earliest recorded performance - 1st Nov 1604
- Criticism transformed by feminist, AA and post-colonial influences
- Links to OJ Simpson Case
- Susan Snyder
- Iago
- Pechter - 'It is Othello tragedy but Iago's play'
- Vanita - 'villany is as successful as it is because he speaks to the lowest common denominator, the most widely accepted prejudices
- Only Shakespeare villain to survive
- Machiavel vs allegorical
- Victim of upper-class privilege?
- Leavis - 'we should see in Iago's prompt success nnot so much Iago's diabolic intent as Othello's readiness to respond
- Cultural seismograph
- 'Outstanding differences'
- Paul Robeson 1930s
- 'Othello won't play in Memphis'
- Hogan- 'Shakespeare was deeply critical of racial hatred'
- Black characters v popular on Elizabethan stage
- Handkerchief - central icon - referenced more than 30 times
- Ania Loomba - 'Othello is not merely a black man who is jealous, but a man whose jealousy and blackness are inseperable'
- Black characters v popular on Elizabethan stage
- Hogan- 'Shakespeare was deeply critical of racial hatred'
- Cultural seismograph
- 1979 - Paul Winfield - letter protesting him kissing a white woman
- Apartheid
- Moved from erasure to emancipation
- 20th century criticism harsher on Othello
- FR Leavis 'the essential traitor is within the gates'
- Bradley - 'Noble Moor'
- 'She can do nothing whatever. She cannot retaliate even in speech'
- Julian C Rice - 'she shares responsibility for her own murder'
- 'Othello is the most powerfully exciting and the most terrible
- Neill - Iago usurps Des & Cassio's positions - Othello becomes 'occupied territory'
- Coleridge - 'Desdemona has no character at all'
- Bradley - 'Noble Moor'
- FR Leavis 'the essential traitor is within the gates'
- 20th century criticism harsher on Othello
- Moved from erasure to emancipation
- 'Othello won't play in Memphis'
- Germaine Greer
- 'an authentic and sensitive portrayal of a black hero in a white society'
- Contemporary feminists - post-millennial battered wife
- Ruth Vanita
- Adamson - 'Desdemona's innocence coexists with rich sexuality'
- Burke - 'ownership in the profoundest sense of ownership'
- Bathelomy
- 'Our sympathy for Othello, however, is sympathy for his struggle to accept his fate'
- Granville-Barker
- 'It is a tragedy without meaning, and that is the ultimate horror of it'
- Blackness Made Visible Philip. C. Kolin
- Othello Criticism
- Susan Snyder
- Gardner - 'distaste for the heroic'
- 18th and 19th C regularly cut out Willow Scene
- Contradictions between women's body = property and 'cannot control their appetites'
- 18th and 19th C regularly cut out Willow Scene
- Gardner - 'distaste for the heroic'
- Othello and Interpretive Traditions - Pechter
- Links to OJ Simpson Case
- earliest recorded performance - 1st Nov 1604
- 2nd revival - restoration - initially very popular
- Edmund Lean - premier Othello 19th century
- Preston - 'Othello was a white man'
- anti-catholic feeling difficult to exaggerate
- 'Iago's blatant misogyny... represented an entirely unexceptional story to the play's first audience'
- earliest recorded performance - 1st Nov 1604
- Criticism transformed by feminist, AA and post-colonial influences
- Links to OJ Simpson Case
- Susan Snyder
- Iago
- Pechter - 'It is Othello tragedy but Iago's play'
- Vanita - 'villany is as successful as it is because he speaks to the lowest common denominator, the most widely accepted prejudices
- Only Shakespeare villain to survive
- Machiavel vs allegorical
- Victim of upper-class privilege?
- Leavis - 'we should see in Iago's prompt success nnot so much Iago's diabolic intent as Othello's readiness to respond
- Othello Criticism
- Othello in performance
- 'tawny moor'
- Paul Robeson
- Whitewashing in 20th and 21st centuries
- Paul Robeson
- 'tawny moor'
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