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How could the text be read and interpreted differently by a Syrian refugee in Switzerland and a native Swiss?
People with different backgrounds and cultures may read the same text and yet react to it in a completely different way. William Shakespeare’s play, ‘Othello’, can be interpreted in many different ways. A native Swiss and a refugee from Syria for example, would interpret the text differently, largely due to Switzerland’s modern western culture compared to Syria’s Muslim culture. Switzerland is deeply rooted in western European culture, valuing democracy and humanitarianism. There are urban intellectuals that see immigration as positive, however there are also many people that see it as a danger to Switzerland’s unique culture (Jud,
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In Syria the husband is the head of the household and women are meant to honour and respect him (Tanford, n.d.). This would result in him interpreting parts of Emilia’s dialogue as very disrespectful to her husband since she seems to have a sharp tongue. This would be especially evident in the way Emilia talks to Iago in Act 5.2 and in the second part of act 4, scene 3 (Honigmann, 1997). Some of the dialogue in that excerpt such as ‘Yet have we some revenge. Let husbands know their wives have sense like them’ to a refugee from Muslim culture would seem offensive to husbands as it seems that Emilia may be threatening the husbands that don’t treat their wives well. A native Swiss however would come to a different conclusion after reading this excerpt. In Switzerland like many other western nations equality is very important issue (Gender equality around the world: the best and worst countries, 2015). This means that they would interpret the dialogue as women who are unfairly treated trying to stand up against their oppressors. Since Desdemona was struck by her husband a short while earlier and Emilia is generally not treated that well by Iago, it would be perfectly reasonable to a Swiss that the women are standing up against this sort of treatment. This all shows how the dialogue of the women, especially Emilia would be read and interpreted differently by the …show more content…
Syrian culture is based on honour and shame, while many western nations have cultural characteristics based on innocence and guilt (Weir, 2007). This means in Syria you aim to be honoured and respected by the community, when however something goes wrong you lose this honour and this is very shameful. In the context of Othello it would mean that his wife cheating on him would be very shameful, to the refugee this would explain the rather extreme reaction of Othello. In Syria, although it is illegal, honour killings are still very common. Honour killings is a husband killing a wife that has cheated on him. Since in Syria such an occurrence would not be too uncommon, they might understand why someone would kill their wife to preserve their honour. The innocence-guilt based culture of Switzerland however does not justify Othello’s behaviour. Swiss believe that even if you have a disloyal wife you still maintain your own innocence and that only the wife should feel guilt. This would mean that usually a divorce is the worst that could happen because of this and killing the wife would under no circumstances be acceptable. This all shows how Othello’s act of killing Desdemona would lead to different reactions by a Syrian refugee in Switzerland and a Swiss native after having read and interpreted the text. The refugee might find it more justified because a disloyal wife would be
Othello is the Cultural Other in Venetian society, and while he is very learned, it is probable that he is not fully aware of the social and cultural mores that govern Venice. As a Moor, Othello was reared outside Venice, and thus remains separate and exoticized. Although a great military man, and accepted by the elite of Venice, there is still a foreign-ness to him. The characters in the play, for the most part, call Othello "the Moor" (1. 1. 37, 1. 1. 161, 1. 2. 56). By calling Othello "the Moor," his proper name is taken away and he is left as an object. He is only accepted because of his military prowess, and seems to be used almost as a commodity; he is sent to Cyprus, with little warning--almost at the whim of the Duke. It is only because he is valuable to Venice that he is not punished for marrying the white Desdemona; Brabantio's anger is a clear indication that miscegenation is not an acceptable practice. Therefore, being a stranger to Venetian society, even a vague inkling that he is only a body used to fight may lead to insecurity that only exacerbates the deep-seeded, pre-existing ...
Othello is the tragedy, and, incidentally, the name of a Moor who serves as a general in the Italian military. He spends the first act of Shakespeare’s play in Venice, but is ordered shortly to Cyprus to fight the Turkish invasion. His journey isn’t officially noticeable at all in the play. One moment he’s defending himself in the Senate of Venice, the next he’s in Cyprus, taking credit for being victorious in a battle the storms fought for him against the Turks. The story unravels from there. His soon-to-be-lieutenant, Iago, whispers in his ear about his wife, Desdemona, and the unforgivable crime of adultery, throwing Othello’s orderly world to the winds of fate.
First, in order to defend Desdemona's chastity, Emilia challenges the societal norm of silence. Recall the incident when Othello calls Desdemona a "whore" for cheating. In response, Emilia protests loudly against Othello and attempts to disprove his belief that Desdemona is not chaste: "A halter pardon him [Othello]! And hell gnaw his bones! / Why should he call her [Desdemona] whore? (4.2. 143,144). Instead of Emilia conforming to the attribute of Renaissance women as silent, she condemns Othello for his false accusations against her mistress, Desdemona. Later in the play, after finding Desdemona killed, Emilia challenges silence again: "As ignorant as dirt! Thou hast done a deed-... / The Moor hath killed my mistress!" (5.2. 171,174). Although Othello tells Emilia that it would be "best" for her to remain silent, she ignores his request and ridicules him for killing "sweet" Desdemona (5.2. 169).
Being the only different person in the room is hard; constantly being judged, and never actually fitting in; it can drive even the most normal person insane. The Tragedy of Othello by William Shakespeare is a play about a general who is different: the only one who’s black. No one else in Venice is from Africa, and with such a high position in the Venetian military, Othello’s race is almost non-existent, he appears to actually fit in along with the rest of the fair-skinned people. In this play, Shakespeare develops the motif of racism as a seed that grows, and eventually creates a sociopath full of hatred. Overall, racism is a viral disease that encircle us, and subconsciously controls our actions.
In The Tragedy of Othello, William Shakespeare tells the tale of the “noble Moor” whose honor and innocence bring about his downfall. Shakespeare writes of the power of jealousy, and the art of masterful deception and trickery. The story primarily takes place in Cyprus, during a war between the people of Venice and the invading Turks. In this play Shakespeare shows the feelings of Othello’s embittered right-hand man of, Iago, who feels he is passed over for a promotion and swears his revenge. He proceeds to manipulate his friends, enemies, and family into doing his bidding without any of them ever realizing his ultimate goal. He makes Othello believe that his new wife, the innocent Desdemona, is committing adultery with his newly promoted officer Michael Cassio. After this seed of jealousy has been planted, Othello’s mind takes its course in determining the true outcome, with a little more nudging from Iago. The course of action he proceeds to follow is one that not only ends his own life, but also the life of his wife and others. In Shakespeare’s Tragedy of Othello, Othello is a man who is still truly honorable, despite the course of action he takes to resolve his perceived problem.
Shakespeare illustrates the injustices done to women by demonstrating the treatment Desdemona and Emilia received after having been framed of adultery. Because both women are though of cheating on their husbands, they no longer fit in society’s model of an exemplary wife. Despite having proved their affection for their husbands countless of times, not having a pure image led to Iago and Othello mistreating of the women they once loved. Once both women began to stand up for themselves and challenge the authority of their husbands, the repercussions of their bravery were both women’s death. Which shows, women’s only source of authority was their reputation as a wife. Once they lost that status, they no longer held any form or respect in society or with their husband’s.
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.
Emilia, while lying next to her best friend on her deathbed, began to suppress her passive nature and attempts persecute the murderer. Nonetheless, the only woman who stood up for herself got killed in the end by her own husband. Othello and Iago’s wives were thought to be disloyal to their husband, while only one of them was correct in this accusation, Desdemona and Emilia were both murdered by the people they pledged their allegiance to. But, Emilia was the only woman who denounced the authority men had over women and compares the qualities of both men and women. She is fully aware of the gender
In Act three, Scene three, Desdemona agrees to speak to Othello in Cassio’s behalf) As Desdemona and Cassio discuss Cassio’s loss of rank and trust in Othello’s eyes. Iago brings to Othello’s attention the discussion taking place between Cassio and Desdemona. Iago knowing full well why the discussion is happening. Iago hints the pair seems to be spending a lot of time together. Iago plants the seed of doubt in Othello’s mind Othello begins to ponder the idea of whether Iago suspicions are true.
In Shakespeare’s Othello, race is a concept that is only minimally explored. Characters in the play assume that, since they are English, they are superior and foreign characters (like Othello the Moor) are inferior. This is not questioned much at all, and in fact it is assumed outright that Othello is indeed a lesser man because of his skin color and the ways in which characters like Iago and Roderigo treat him. While an early modern audience would accept this concept without hesitation, an audience of today’s age is left to question whether Othello is actually acting out because of the societal pressures, beliefs, and actions put upon him, or because he is inherently different as a person who is not white. While Shakespeare seems to think the contrary, Othello’s development in his actions and words—from a confident general to a depressed, wife-killing maniac—show clearly that his demise and his reactions were products of his peers (namely, Iago) and that he is not inherently different because of his race. Ultimately, it was all Iago’s fault.
Othello wondered if Desdemona really loved him, or if she was just using him to rebel against her father. With Iago constantly putting these ideas in his head, Othello was convinced to kill his wife. Cassio was known to be a good soldier, and is proud of that public perception.
due to his race are vast, for example at the start of the play when
When first introduced, Othello, the Moor, seems to be committed to his beautiful wife, Desdemona, and to the army of which he is general. Yet, as time progresses and after being put in difficult circumstances, his loyalty takes a different form. A struggle between opposing loyalties begins to emerge. Convinced his wife is cheating on him with Lieutenant Cassio, Othello seeks to preserve his honor of having a chaste wife, to the point of
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.
Bianca, Desdemona, and Emilia, the three main women from the play, attest to the struggle of male dominance and the issues of societal stereotypes of the classification and limitation of female roles. At the surface, the powerful women seem timid, loving, and willing to care and aid their freelance husbands. However, when explored in a deeper sense, the females can be described as able, having a sense of self, and have attributes that qualify them as much more than housewives, maidens, and objects; Bianca, Desdemona, and Emilia are described as individuals that allow part of themselves to be shared with men that underappreciate their abilities and profounder