Moreover, rather than seeking to be misogynistic, Shakespeare demonstrates that the play’s female characters, Desdemona and Emilia, are actually two of the play’s most powerful figures precisely because they understand what it means to be truly honest—in the forms of love, action, and speech. It is through my exploration of these perspectives and their relationship with changing morals and values that has enriched my understanding of the play. Now that Desdemona has deviated from her prescribed role, Othello feels truly threatened. Unlike Hamlet, King Lear, and Macbeth, which are set against a backdrop of affairs of state and reverberate with suggestions of universal human concerns, Othello is set in a private world and focuses on the passions and personal lives of its major figures. In the play, characters are judged again and again based on appearances and outward characteristics. ...Towards the ends of Othello both Emilia and Desdemona are confirmed as tragic heroines. It is in this critical moment where the men swear their loyalty to each other, therefore denouncing their wives, Othello stating he will “ne’er look back, ne’er ebb to humble love” (3.3.461). Therefore, it becomes all the more tragic that Othello esteems this relationship with “honest Iago” more than the one he shares with his own wife. By understanding this theory of gender as an act, performance, we can see how gender has greatly impacted the outcome of the play in, plays, Shakespeare demonstrates ideas of gender and racial stereotypes. There are ways to get out of dominate racial roles simply by educating people, but there are also ways to avoid gender roles, because even though times have changed of what is “perceived” of what should be done by males and what should be done by females; they still revert into their original positions of being a man and being a woman. The Women of Othello. Gender Roles in Shakespeare Gender Roles in Shakespeare Gender Roles in Shakespeare It is a peculiar feature of Shakespeare\'s plays that they both participate in and reflect the ideas of gender roles in Western society. Othello, the play’s protagonist and hero, who has great reputation as one of Venice’s most competent generals. In this sense, Desdemona stands as a beacon of truth in the play. Gender relations are pretty antagonistic in Othello.Unmarried women are regarded as their fathers' property and the play's two marriages are marked by male jealousy and cruelty (both wives are murdered by their own husbands). The play later contrasts this and endorses patriarchy and the black stereotype. These obstacles also include stereotypes which are discussed in “Don’t Let Your Stereotypes Warp Your Judgment” by Robert Heilbroner in which studies and are given about how stereotypes affect the image of others. Othello, a play in which characters are judged based on sex and appearance, is an example of these stereotypes. The story is based on revenge of two characters, Othello and Iago. Why, then, would Emilia not have confessed to Desdemona that she had taken her handkerchief in the first place? Desdemona retorts, “O, fie upon thee, slanderer!” when Iago exclaims, “Players in your housewifery, and housewives in… / Your beds” (2.1.112-14). One such reading of the play challenges the marginalisation and objectification of woman in a patriarchal Venetian society, while taking into account the changing role of women in modern society. He does not need to see it with his own eyes, because he has already experienced the pain of it from the first mention. Does he lust Desdemona or want Othello for himself? But throughout the play she becomes innocently complicit and naïve to Iago’s scheming and in addition, her marriage encourages her to behave as a woman of the time should and be submissive to Othello. Cassio too states that Othello “hath achieved a maid / that paragons description and wild flame” (2.1.61). The Impact of Gender on Shakespeare’s Othello the people of the Elizabethan age strongly gave importance to race. For example, when Othello asks after eavesdropping on Iago and Cassio, “Was that [handkerchief] mine?” Iago says, “Yours, by this hand” (4.1.169–70). Which is also the audiences’ first hint that Iago... ...Race is a biological meaning, creating division between humankind. The use of animal imagery of “ram” and “ewe” disparaged Othello to a simple beast and is stereotyped as sexually overactive as well as bestial force, to... ...tragedy Othello is about a Moorish general in the service of Venice who is lured into murderous, self-destructive jealousy by a scheming subordinate. On an initial reading of the play, some may mistake Shakespeare’s use of stereotypes in regards to the female characters as misogyny. The dramatic opening of Act 1 Scene1 captures the audience’s attention and gives us a first impression of Othello as an obnoxious “Moor” and hateful “black creature.” This mocking tone is heightened through Roderigo’s description of Othello as “thick-lips owe” and reduces him to mere racial stereotype by referring him as his physical feature. “Othello is unique among Shakespeare's great tragedies. Analyze how Iago, Othello, Cassio, and Brabantino talk about women. Devilish Iago immediately notices and feeds into Othello’s wild imagination, guiding Othello further into his own hypersensitive fantasy that Desdemona is unchaste. In an attempt to reconcile with Othello, she shrivels into the stereotypical role of the subordinating wife, much of her fire seen in Acts I and II diminished by Act IV (Howard 427). He displays moments of dignity and poetry—Shakespeare writes most of his lines in meter—as well as moments where he is completely irrational. This is exposed initially through the title of this play, “Othello, the Moor of Venice”, where the juxtaposition of “Moor” and “Venice” imbued within, reveals Othello’s loss of identity and the outsider nature in Venetian society. Andrew Davies's modern retelling is set in New Scotland Yard and has all the Bard's wit, romance, pity, and terror -- and then some. He is widely regarded as the greatest writer in the English language and the world’s pre-eminent dramatist. These themes of Othello are closely related because of the similar prejudice and stereotypes. In the book “Gender Trouble” (1990), feminist theorist Judith Butler explains “gender is not only a social construct, but also a kind of performance such as a show we put on, a costume or disguise we wear” (Butler).

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