Iconnoclasm and Iconophilia in Othello
In his book War Against the Idols, Carlos Eire argues that iconoclastic resistance to the Medieval Catholic Church began with the gentle scolding of Erasmus and ended as the "shibboleth" of radical Calvinism.1 The use of images in religious instruction and practice was one of the major points of dispute between Protestant reformers and Catholic counter-reformers. Iconoclasm was certainly not confined to radical Calvinism; Anglican reformers, especially those who had spent time in continental Europe as exiles (like John Jewel, Bishop of Salisbury), quickly raised the issue in their country, which had its own unique history of religious reform. The discussions of image and idolatry in Calvin and Jewel represent particular theories of the image that derive from but also revise ancient Platonic theories of the image. Reformation iconoclasm brings up issues of ontology (who or what is God?), epistemology (by what means are we to know him? can he be represented to human senses?), and ethics (how does knowledge of God translate into moral action?). Protestant iconoclasts tend to emphasize the epistemological worth (or rather, worthlessness) of religious imagery, while the Catholic iconophiles emphasize the positive moral effects to be derived from the use of images in religious instruction.
Although sparked in the 1520's and 30's, the debate between iconoclasts and iconophiles raged throughout the latter sixteenth century, well into Shakespeare's time. The iconoclastic writings of Zwingli and Calvin had a powerful legacy throughout Europe. Calvin's collected Institutes of the Christian Religion was published in 1559. Perhaps spurred by theological arguments like Calvin's, violent stripping of church imagery and other popular agitation over idolatry took place in Switzerland and elsewhere on the continent. In England, John Jewel's dialogues with Dr. Harding on the subject of imagery, drawing very much on Calvin's arguments, were published in 1565 and again in 1611. During the English Reformation, the churches and monasteries of England were also stripped of their images by some Protestant objectors. It is clear that iconoclasm was an issue not only for elite churchmen--it also captured the hearts and minds of the general population, who were the audience of Shakespeare's theater.
The problem of the image is traced, by many Protestant theologians, to several major scriptural conflicts. The first important reference is God's pronouncement in Genesis: "Let us make man in our image, after our likeness" (Gen.
Louisiana contains approximately 40% of the coastal wetlands of the lower forty-eight states. Louisiana has lost up to forty square miles of marsh per year for several decades (accounting for 80% of the nation’s annual coastal wetland loss) (lacoast.gov). From a hydrologic standpoint, the wetlands replenish aquifers, hold excess floodwaters from intense rainfalls, and provide storm surge protection.
ii, 275), so he is even at the end of the play linked to the
Jonathan Edwards (1703-1758) is widely recognized as one of America’s most profound Theologians. Some might even consider him the master of Puritan revival, since he was the leader of the Great Awakening. During his time he was a devout Calvinist who had the power of single-handedly keeping the Puritan faith strong for over twenty-five years, by using vivid imagery to provoke his audience. Edward's dialect was exquisitely influential and yet wielded with class and ease. This essay argues that Edwards was a prestigious theologian in his time that helped shape modern religious culture.
In the play, Othello by William Shakespeare throughout the entire play it had portrayed symbolism and foreshadowing. These had influenced the most of the characters to act in a foolish ways. This leads us to a suspense ending that caused loved ones to go against each other. By not realizing what is going on between the characters can cause confusing in the plans of the play. Likewise, by connecting each of the following character made it seem we might have knew something was going to happen at the end. Throughout the play we are able to recognize that the handkerchief is played as an important part with all the characters. This is done by showing how each one of the characters is acting with it being loss. Due to it being misplaced some of the characters will do something they normally wouldn’t have done.
Williams, Jeff. "Louisiana Coastal Wetlands: A Resource at Risk." Marine and Coastal Geology Program. United States Geological Survey, 3 Nov. 1995. Web. 14 Nov. 2011. .
Out of all mental illnesses found throughout the world, eating disorders have the highest mortality rate. Anorexia nervosa is one of the more common eating disorders found in society, along with bulimia nervosa. Despite having many definitions, anorexia nervosa is simply defined as the refusal to maintain a normal body weight (Michel, 2003). Anorexia nervosa is derived from two Latin words meaning “nervous inability to eat” (Frey, 2002). Although anorexics, those suffering from anorexia, have this “nervous inability to eat,” it does not mean that they do not have an appetite—anorexics literally starve themselves. They feel that they cannot trust or believe their perceptions of hunger and satiation (Abraham, 2008). Anorexics lose at least 15 percent of normal weight for height (Michel, 2003). This amount of weight loss is significant enough to cause malnutrition with impairment of normal bodily functions and rational thinking (Lucas, 2004). Anorexics have an unrealistic view of their bodies—they believe that they are overweight, even if the mirror and friends or family say otherwise. They often weigh themselves because they possess an irrational fear of gaining weight or becoming obese (Abraham, 2008). Many anorexics derive their own self-esteem and self-worth from body weight, size, and shape (“Body Image and Disordered Eating,” 2000). Obsession with becoming increasingly thinner and limiting food intake compromises the health of individuals suffering from anorexia. No matter the amount of weight they lose or how much their health is in jeopardy, anorexics will never be satisfied with their body and will continue to lose more weight.
Anorexic behavior is complex because it is all about the need for control. Someone suffering from anorexia has a distorted body image of himself or herself. He/she believes to be overweight, even though twenty percent of the time he/she is not (Yancey 59). The image of being overweight causes a low self-esteem. Symptoms of low self-esteem are loneliness, inadequacy in talents, a lack of trust in people and themselves, insecurity, identification with a specific peer group, and sadness. The media displays the ideal human body as thin and beautiful. Anorexic’s lives are full of confusion and lack of control. To the anorexic, to be thin is to be in control. The state of control to the anorexic is the ideal life without confusion and difficulties. In most cases, the anorexic is intelligent; popular among his/her peers, athletic, talented, and viewed as a role model to most people he/she comes in contact with. In reality, the issues in daily living are too difficult for the anorexic resulting in a lack of control in his/her life. The anorexic’s answer to a confusing life is to starve the body. The behavioral symptoms of the anorexia are counting calories, eating little food, baking treats for everyone and giving them away in hope of controlling not only the anorexic’s intake of his/her food, but also others. “Playing” with food at meal times is common behavior of the anorexic. When the meal is complete, the anorexic has disguised food intake by pushing the food around on the plate and hiding food in napkins. To dress in layers to hide the distinct weight loss and to avoid social activities where eating is involved are common behavioral symptoms. Behavioral symptoms of the anorexic can go unnoticed by most people. These symptoms are very secretive and oblivious to outsiders because the behavior is not out of the ordinary. Although the behavioral symptoms of the anore...
This paper introduces the environmental concerns of the loss of coastal wetlands. The paper will discuss the significance of wetlands and the devastation that is occurring because of human activity. Wetlands are an essential element of our environment both ecological and societal; conservation will be essential for the preservation of these precious ecosystems.
Texts and their appropriations reflect the context and values of their times. Within Shakespeare’s Othello and Geoffrey Sax’s appropriation of Othello, the evolution of the attitudes held by Elizabethan audiences and those held by contemporary audiences can be seen through the context of the female coupled with the context of racism. The role of the female has developed from being submissive and “obedient” in the Elizabethan era to being independent and liberated within the contemporary setting. The racism of the first text is overtly xenophobic and natural, whilst the “moor” is unnatural whereas the updated context portrays Othello’s race as natural and racism as unnatural. Therefore these examples show how Shakespeare’s Othello, and it’s appropriation, Geoffrey sax’s Othello, reflect the context and values of their times.
In his soliloquy from Act 2, Scene 1 of Othello, Shakespeare underlines Iago's search for justification as he conducts a plan to destroy Othello through repetition, connotation, and absolutes. Firstly, Shakespeare incorporates the repetition of "love" in Iago's soliloquy creating an appeal to logos as well as pathos. The use of "love" in the beginning if Iago's soliloquy when he accuses Cassio and Desdemona of being in love with each other is an example of his search for justification: "Cassio loves her, I do well believe't./ That she loves him, 'tis apt of great quality". The reader knows Iago has no proof of an affair; his accusation is simply an attempt at convincing himself and the reader that the chaos he will soon cause is just by using logos. Then, creating an appeal to pathos, Iago describes his love for Othello and Desdemona, as if admitting this will make up for what his plan entails: "I dare think he'll prove to Desdemona/A most dear husband. Now, I do love her too" (2.1.311-312). The repetition of love changes meaning, but still represents Iago's search for excuses and forgiveness for his upcoming actions.
In William Shakespeare’s play “Othello” the use of animal imagery was evident throughout the telling of the story of the.. Shakespeare explained several characters actions by comparing them to similarities in animals. The characters in “Othello” were often depicted as having animal-like characteristics. Some characters were even compared to animals by other characters in the play. By defining characters in terms of these characteristics one can get a clear description of what the character is doing or saying as compared to certain animals.
Critics have acclaimed that the play, Othello, is nothing more than a play about a handkerchief and the domestic drama it entails. The handkerchief is, however, more than just a square of cloth; it means different things to different people and is an indicator of character, a test of relationships and a key symbol of major themes in the play. It is a very important part of the play and is crucial to the plot as a whole.
The Tragedy of Othello William Shakespeare’s, The Tragedy of Othello, the Moor of Venice, from the sixteenth century is an excellent example of Renaissance humanism. “A poet of unparalleled genius, Shakespeare emerged during the golden age of England under the rule of Elizabeth I.”(Fiero 3:98) He produced comedies, tragedies, romances and histories. According to Webster’s pocket dictionary, a tragedy is defined as a form of drama in which the protagonist comes to a disaster, as through a flaw in character, and in which the ending is usually marked by pity or sorrow. I would like to concentrate on the character Iago and the theme of deceit.
The American Academy of Family Physicians (2003) states, “People with anorexia starve themselves, avoid high-calorie foods and exercise constantly.” The person suffering from anorexia is abnormally sensitive about being fat or has a massive fear of becoming fat. Low self esteem and a constant need for acceptance commonly is seen in anorexics. Michel and Willard (2003) contend the most prevalent characteristic with this disorder is reduced calorie intake. The initial need to lose just a few pounds is somewhere forgotten and the cycle of the disorder takes over. Anorexic...
Anorexia Nervosa is an eating disorder that is most prevalent in adolescent girls and young women. It is distinguished by the loss of at least 15% of the expected body weight (Long). The disease is characterized by the obsessive fear of gaining weight; through this fear, the person engages in dangerous dieting habits that prevent weight gain. According to statistics in 2011 anorexia is categorized as the third most common chronic disease among adolescents, in addition, eating disorders also have the highest mortality rate of any mental illness (Wilkins). Anorexia is a life-threatening disorder that I have only been slightly aware of. I was aware that anorexia was characterized by a serious amount of weight loss however, I never expected two of my best friends’ lives to be ruled by this disorder.