The Role of Women in Othello
At the beginning of Othello two men stand and discuss the fate of a woman. One contested for her and lost and the other willingly admits to her beauty, charm and worth. Both men wish to bring down the man who has won her, Desdemona, and slander her name nonetheless. This man, their rival and superior is none other than Othello. Othello has managed to obtain something they could not; Desdemona. Throughout the play Desdemona is rarely viewed as a human being, she is merely a prize, and from the very beginning Desdemona is an object of lust. Emilia and Bianca are also mistreated in this way.
The three women in the play; Desdemona, Emilia and Bianca contrast in class. Desdemona is born from a high-class Venetian family, Emilia is from a servant class and Bianca is a prostitute or "whore", a word that Desdemona refuses to use. Despite this they are all abused by men and are objects of men's sexuality, and they all suffer under the cruel hands of those whom they love. Each one is shown in relation to a particular man, (Othello, Iago and Cassio) and is contrasted with the other women, which reveal how the stereotypical version of womanhood impacts their lives, (in Desdemona and Emilia's case, their deaths). The three women's eventual destinies are interlinked with the plays central symbol: the handkerchief.
Women are major characters in Shakespeare's plays. In "Othello" women are ...
... middle of paper ...
...e: Reflections Chiefly on the Tragedies. Lincoln, NB: University of Nebraska Press, 1993.
Muir, Kenneth. Introduction. William Shakespeare: Othello. New York: Penguin Books, 1968.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
Shakespeare, William. Othello. In The Electric Shakespeare. Princeton University. 1996. http://www.eiu.edu/~multilit/studyabroad/othello/othello_all.html No line nos.
Wayne, Valerie. “Historical Differences: Misogyny and Othello.” The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed Valerie Wayne. Ithaca, NY: Cornell University Press, 1991.
Ekici, Sara (2009). Feminist Criticism: Female Characters in Shakespeare's Plays Othello and Hamlet. Munich: GRIN Publishing.
All in all, the story was rather sad but eye-opening. I believe Porter’s approach to writing this story allowed readers to reflect back on their own lives and examine both the good and not-so-good times. It shows people not to just live life through the motions, but rather, to look at it as beautiful journey as no one wants to end up like Granny Weatherall and realize that with she never really lived.
Of course, successful completion of a medical assistant certification program is a good indicator of an individual’s ability to practice safely. Certification programs are available for both formally trained and on-the-job trained medical assistants, and certifying organizations include the American Association of Medical Assistants, American Medical Technologists, and the National Center for Competency Testing.
Later on in the play we are shown another instance in which Polonius treats Ophelia wrongly through his diction.
In the first scene of Act II, Polonius and Ophelia discuss the meaning of Hamlet's odd behavior. Though the two characters agree his actions arise out of the torment of spurned love, they arrive at that point through very different means. At the beginning of the dialogue, Ophelia says that she has been "affrighted" by Hamlet in her bed chamber. (II,i 75) Her encounter with the Prince left her scared about his real intentions. She says that he looks like he has been,"loosed out of hell/To speak of horrors". (II,i 83-4) The very fact that Hamlet does not speak one word to Ophelia makes him look even more intimidating. By not speaking anything, Hamlet at once strengthens his image as a madman, as well as shrouding his real intentions towards those around him. Just following this passage comes a place in the text where we can see how the character of Ophelia has been manipulated by Polonius. After his "hint" that he might be doing this out of frustrated love, Ophelia says that that is what she truly does fear. (87) Her feelings of pity and concern are shaped by her father in order to fit his case of madness against Hamlet.
Wayne, Valerie. “Historical Differences: Misogyny and Othello.” The Matter of Difference: Materialist Feminist Criticism of Shakespeare. Ed Valerie Wayne. Ithaca, NY: Cornell University Press, 1991.
The love between Othello and Desdemona is a great venture of faith. He is free; she achieves her freedom, and at a great cost. Shakespeare, in creating the figure of her wronged father, who dies of grief at her revolt, sharpened and heightened, as everywhere, the story in the source. Her disobedience and deception of him perhaps cross her mind at Othello’s ominous ‘Think on thy sins.’ If so, she puts the thought aside with ‘They are loves I bear you.’ . . . Othello is a drama of passion and runs to the time of passion; it is also a drama of love which, failing to sustain its height of noon, falls at once to night. (141)
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Pitt, Angela. "Women in Shakespeare's Tragedies." Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint of Shakespeare's Women. N.p.: n.p., 1981.
An understanding of occupation and its science dimension enables the therapist to gain knowledge about how patients orchestrate their lives through the doing of occupations in any given context. The occupational therapy proce...
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 68-90)
The difference of color is seen through the eyes, but the formulation of racial judgement and discrimination is developed in the subconscious mind. Toni Morrison’s short story “Recitatif (1983)” explores the racial difference and challenges that both Twyla and Roberta experience. Morrison’s novels such as “Beloved”, “The Bluest Eye”, and her short story “Recitatif” are all centered around the issues and hardships of racism. The first time that Twyla and Roberta met Twyla makes a racial remake or stereotype about the texture and smell of Roberta’s hair. Although they both were in the orphanage because of similar situations, Twyla instantly finds a racial difference. The racial differences between Twyla and Roberta affects their friendship, personal views of each other, and relationship with their husbands.
Neely, Carol. "Women and Men in Othello" Critical Essays on Shakespeare’s Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
During the Elizabethan era women had a status of subordination towards men. They had a role to marry and oblige to their husband’s wishes. Shakespearean literature, especially illustrates how a woman is psychologically and physically lesser to their male counterpart. The play, Othello, uses that aspect in many different ways. From a Feminist lens others are able to vividly examine how women were subjected to blatant inferiority. Being displayed as tools for men to abuse, women were characterized as possessions and submissive; only during the last portion of the play did the power of women take heed.
The Shakespearean classic work Othello enchants the readers mind through the tragic love story of the witty and cunning soldier Othello and the charming and powerful Desdemona. The continuous reinforcement of their tragedy is molded by the gender roles present in the play, particularly those of Bianca, Desdemona, and Emilia. Although the men are important within the outcome of the play, mainly Iago and Othello, the women take a more subtle, yet effective approach in manipulating the work through their personalities. Bianca is a woman of self-esteem and sexual power while Desdemona is the keeper of Othello’s heart and handkerchief, never once denouncing him, even her death. Emilia subtly represents that women are just as powerful, if not more,