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Othello, Act 2, Scene 1. Iago’s undisguised racism and hatred for Othello emerge once more, as he tries to convince Roderigo that Desdemona will soon tire of her black devil husband. When she has her sexual fill of Othello, he predicts that she will seek another sexual partner.
28 lis 2011 · The play's earliest critic, Thomas Rymer, found the black Othello so improbable a tragic hero and his relationship with Desdemona so inappropriate as to render the play incapable of producing the requisite tragic effect.
Othello's allegorical blackness is presumably literal and real, that is, he comes to be seen as having invested blackness with the audience's allegorical presumption.
23 sty 2024 · This chapter discusses Othello through critical and creative voices in postcolonial studies, migration studies, premodern critical race studies, and disability studies to examine the mutually informing forces of colonialism, empire-making, disability-making, and race-making that operate in the play.
The production’s examination of racism culminates in Othello’s final speech, which depicts his twin struggles with internalised racism and narrative control, something he knows he will shortly lose: …I pray you in your letters, When you shall these unlucky deeds relate, Speak of me as I am. Nothing extenuate, Nor set down aught in malice.
We Are Othello: Speaking of Race in Early Modern Studies Ian Smith Speak of me as I am; nothing extenuate, Nor set down aught in malice. — Othello, 5.2.341-421 Recently, in the United States, numerous reports of police killings of unarmed black persons have dominated the media
14 gru 2022 · One of the many ongoing achievements of PCRS is demonstrating how the racial (and racist) logics of the past inform our present moment; indeed, Ian Smith and Justin Shaw have recently begun essays on Othello with a discussion of American police killing unarmed Black men. 65 Attending to the operation of racialized disgust similarly provides ...
