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논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2005.9
- 수록면
- 471 - 493 (23page)
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The issue of race has been ignored or downplayed in the traditional criticism of Othello. However, in reading this scandalous play, one cannot avoid Othello's color, or racist remarks and attitudes of certain characters, or the plot itself. This paper sets out to examine racism in the play by locating it in the social, cultural context of its times and discover where the play stands on the issue of Othello's blackness. His blackness is important not because of what he is, but because of how he is perceived, specifically by the other characters, and by himself.
Elizabethan Englishmen had racial prejudices regarding black men as barbarous, treacherous, lustful, jealous or as 'others.' In view of the prejudice of the Abstract time it is remarkable that Shakespeare chooses to make his tragic hero a black man and his villain the white Iago. He introduces the color prejudice through the racist discourse of Iago, Roderigo, and Brabantio, but deliberately criticizes such attitudes, producing a noble tragic hero. In the play Shakespeare reverses the associations attached to the colors white and black. While Othello denies stereotype, it is Iago who is dramatically constructed as black.
Othello's anxiety about his blackness becomes a powerful ingredient in the tragedy. Throughout the play he never defends his blackness and defines his identity, drawing on images created by Venetian society. By the end of the play his own blackness is hateful and terrible to him. It is this anxiety that Iago exploits to set his downfall in motion.
Othello's alienation as the 'other' in the white Venetian society evokes strong tragic feelings in the audience. He struggles to fit into a civil society that does not want him to fit in. His one claim to acceptance is his service to the state. When Othello must defend his marriage to Desdemona, he relies on his rank, abilities, virtue, and service as a soldier. However, these cannot protect him from pointed racial remarks, which hint at miscegenation. At the last moment of his suicide, Othello's alienation is revealed through the tragic acceptance of his original status as a racial outsider. The play invites us to sympathize with Othello who is never fully assimilated and so remains outside the social system, vulnerable to its prejudices.
Elizabethan Englishmen had racial prejudices regarding black men as barbarous, treacherous, lustful, jealous or as 'others.' In view of the prejudice of the Abstract time it is remarkable that Shakespeare chooses to make his tragic hero a black man and his villain the white Iago. He introduces the color prejudice through the racist discourse of Iago, Roderigo, and Brabantio, but deliberately criticizes such attitudes, producing a noble tragic hero. In the play Shakespeare reverses the associations attached to the colors white and black. While Othello denies stereotype, it is Iago who is dramatically constructed as black.
Othello's anxiety about his blackness becomes a powerful ingredient in the tragedy. Throughout the play he never defends his blackness and defines his identity, drawing on images created by Venetian society. By the end of the play his own blackness is hateful and terrible to him. It is this anxiety that Iago exploits to set his downfall in motion.
Othello's alienation as the 'other' in the white Venetian society evokes strong tragic feelings in the audience. He struggles to fit into a civil society that does not want him to fit in. His one claim to acceptance is his service to the state. When Othello must defend his marriage to Desdemona, he relies on his rank, abilities, virtue, and service as a soldier. However, these cannot protect him from pointed racial remarks, which hint at miscegenation. At the last moment of his suicide, Othello's alienation is revealed through the tragic acceptance of his original status as a racial outsider. The play invites us to sympathize with Othello who is never fully assimilated and so remains outside the social system, vulnerable to its prejudices.
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