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Racism and ethnicity in othello
Racism in Othello
Racism in Othello
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Even the most influential, powerful and intelligent people are looked down upon because of the color of their skin. In William Shakespeare’s classic, Othello, and Wole Soyinka’s poem, Telephone Conversation, we follow two protagonists who undergo constant racial prejudices. Othello, being set in the sixteenth century, depicts a religious black man who is often tormented by the thought that his affluent white wife, Desdemona, is unchaste. On the other hand, Telephone Conversation, being set in the mid 1900s, follows a black man hoping to purchase a home from a white landlady. Although the situation doesn’t end well, the poem suggests that the author intentionally wrote the poem circulating the theme of discrimination against people of color …show more content…
A black man, over the telephone line, tries to buy shelter from a white landlady whose “lipstick [is coated]” with a “long gold-rolled cigarette-holder pipped.” The color gold signifies wealth and class, suggesting that the landlady comes from an affluent family. Often speaking in a patronizing and condescending tone, one phrase in particular, “Omnibus squelching tar,” symbolizes white supremacy and black inferiority where the bus signifies the white race and the tar signifies the black race. The fact that Soyinka decided to use the word, “squelching,” proves to be significant in determining the phrase’ interpretation. Squelch can be interpreted in multiple ways, two of the most important being, a “sucking sound such as that made by walking heavily through mud” and to “forcefully silence or suppress.” The bus trampling heavily through the tar directly links to whites forcefully silencing or suppressing people of color. The westernized society is oppressing the black man as well as people of color, continually pushing blacks to the side from opportunity and equality. Soyinka emphasizes racial segregation through symbolizing the dominant white community treating the minor black community …show more content…
William Shakespeare’s Othello wrestles with constant racial discrimination, following a black Moor who becomes paranoid by the thought that his both socially and physically affluent wife, Desdemona, has cheated on him with his white best friend. Similarly, Wole Soyinka’s Telephone Conversation follows a black man endeavoring continual racial prejudices, while hoping to purchase a home from a white landlady. Although ultimately ending in a disaster, the author presents a poem circulating the theme of discrimination against people of color to encourage others to undertake social change. Although the protagonists are influential, powerful and intelligent people who defy stereotypes and constantly retaliate racial discrimination, they come to realize that they have no chance of eradicating society’s act of
Christopher Paul Curtis wrote The Watsons Go to Birmingham—1963 throughout the course of 1995. The novel follows the Watsons, a black family living in Flint, Michigan during the Civil Rights Era. In a historical context, 1963 and the early 1990s have far more in common than one would expect. The Civil Rights Act was passed in 1964 following the church bombing in Birmingham, and yet race-based discrimination remains a problem even in our modern society via passive racism. This paper will analyze the ways in which Curtis’ The Watsons Go to Birmingham—1963 draws parallels between the time in which his is writing during and the time in which he is writing about. This analysis will also shed light on what can be called the “white standard,” wherein all things white are “good” or “better” and anything not-white is “bad.”
Ever since the abolition of slavery in the United States, America has been an ever-evolving nation, but it cannot permanently erase the imprint prejudice has left. The realities of a ‘post-race world’ include the acts of everyday racism – those off-handed remarks, glances, implied judgments –which flourish in a place where explicit acts of discrimination have been outlawed. It has become a wound that leaves a scar on every generation, where all have felt what Rankine had showcased the words in Ligon’s art, “I feel most colored when I am thrown against a sharp white background” (53). Furthermore, her book works in constant concert with itself as seen in the setting of the drugstore as a man cuts in front of the speaker saying, “Oh my god, I didn’t see you./ You must be in a hurry, you offer./ No, no, no, I really didn’t see you” (77). Particularly troublesome to the reader, as the man’s initial alarm, containing an assumed sense of fear, immediately changing tone to overtly insistent over what should be an accidental mistake. It is in these moments that meaning becomes complex and attention is heightened, illuminating everyday prejudice. Thus, her use of the second person instigates curiosity, ultimately reaching its motive of self-reflections, when juxtaposed with the other pieces in
In “Queens, 1963”, the speaker narrates to her audience her observations that she has collected from living in her neighborhood located in Queens, New York in the midst of the Civil Rights Movement. The narrator is a thirteen-year-old female immigrant who moved from the Dominican Republic to America with her family. As she reflects on her past year of living in America, she reveals a superb understanding of the reasons why the people in her neighborhood act the way they do towards other neighbors. In “Queens, 1963” by Julia Alvarez, the poet utilizes diction, figurative language, and irony to effectively display to the readers that segregation is a strong part of the American melting pot.
Fueled by fear and ignorance, racism has corrupted the hearts of mankind throughout history. In the mid-1970’s, Brent Staples discovered such prejudice toward black men for merely being present in public. Staples wrote an essay describing how he could not even walk down the street normally, people, especially women, would stray away from him out of terror. Staples demonstrates his understanding of this fearful discrimination through his narrative structure, selection of detail, and manipulation of language.
Sociologists often employ intersectionality theory to describe and explain facets of human interactions. This particular methodology operates on the notion that sociologically defining characteristics, such as that of race, gender, and class, are not independent of one another but function simultaneously to determine our individual social experiences. This is evident in poetry as well. The combination of one poet’s work that expresses issues on class with another poet’s work that voices issues on race, and so forth, can be analyzed through a literary lens, and collectively embody the sociological intersectionality theory.
Detrimental stereotypes of minorities affect everyone today as they did during the antebellum period. Walker’s subject matter reminds people of this, as does her symbolic use of stark black and white. Her work shocks. It disgusts. The important part is: her work elicits a reaction from the viewer; it reminds them of a dark time in history and represents that time in the most fantastically nightmarish way possible. In her own words, Walker has said, “I didn’t want a completely passive viewer, I wanted to make work where the viewer wouldn’t walk away; he would either giggle nervously, get pulled into history, into fiction, into something totally demeaning and possibly very beautiful”. Certainly, her usage of controversial cultural signifiers serve not only to remind the viewer of the way blacks were viewed, but that they were cast in that image by people like the viewer. Thus, the viewer is implicated in the injustices within her work. In a way, the scenes she creates are a subversive display of the slim power of slave over owner, of woman over man, of viewed over
The author distinguishes white people as privileged and respectful compared to mulattos and blacks. In the racial society, white people have the right to get any high-class position in a job or live in any place. In the story, all white characters are noble such as Judge Straight lawyer, Doctor Green, business-man George, and former slaveholder Mrs. Tryon. Moreover, the author also states the racial distinction of whites on mulattos. For example, when Dr. Green talks to Tryon, “‘The niggers,’., ‘are getting mighty trifling since they’ve been freed.
Throughout Shakespeare's "Othello", one of the most poignant themes is that of race and racial prejudice. Various critics are of the view that "Othello" was written as a social commentary, depicting the discrimination present in formal Venetian society. These ideas of racial prejudice are portrayed through Othello, the protagonist, who is referred to as "the Moor", an African or a black man.
...ites a short 33-line poem that simply shows the barriers between races in the time period when racism was still openly practiced through segregation and discrimination. The poem captures the African American tenant’s frustrations towards the landlord as well as the racism shown by the landlord. The poem is a great illustration of the time period, and it shows how relevant discrimination was in everyday life in the nineteen-forties. It is important for the author to use the selected literary devices to help better illustrate his point. Each literary device in the poem helps exemplify the author’s intent: to increase awareness of the racism in the society in the time period.
Othello, from the onset, is shown to us a play of love and jealousy. There is however more to this play than just love and jealousy; there is underlying racism, hate, deception, pride, and even sexism between these pages. Othello is a transcendent play, one that will survive the perils of time simply because it is still relevant. Even today, over 400 years later, there are still issues of racism and sexism. Hate is as natural as love in humans and Othello gets right to the root of that. We witness this from the very first scene, “…you’ll have your daughter covered with a Barbary horse/ you’ll have your nephews neigh to you” (I.i.112-14); to the very last, “Moor she was chaste. She loved thee, cruel Moor” (V.ii.258). Moor however is used as an insult all throughout the play; not so much the word itself but the feel of the word. Between these pages we see many different ways as to how the cultural differences between Othello and the other characters.
In the Sixteenth century, as we see clearly from Othello and other works of both Shakespeare and Cinthio's original version of Othello, race was a topic of great debate and discussion. Today, in the twenty-first century the debate retains its controversy and passion. However, attitudes towards race have taken a dramatic turn during the last century. In the developed world people are now living in an increasingly cosmopolitan society would undoubtedly be more tolerant and would reject or even be offended by racial discrimination to any person or sections of the community. Openly 'racist' people today are seen as outcasts. Taking this into account, the way a modern audience would react to race and racism in Othello is dependent upon the way in which that modern audience would interpret 'Othello'. This prompts the questions of what sort of message Shakespeare wanted to send to his audience and was Othello the moor portrayed as a tragic hero or did his character eventually come to resemble the prejudices of which he was a victim. Shakespeare also discusses the issue of race with other characters such as the hateful Iago and the prejudices hidden deep in Barbantio.
Through studying Shakespeare’s and Cinthio’s Othello, I explored the concept of ‘The Moor’. ‘The Moor’ is a disrespectful and racist term , often used by white Europeans referring to arabs and blacks, and people of other races with relatively dark skin, such as Othello. During Shakespeare’s time, blacks are considered to be outsiders and are inferior to white people. In Cinthio’s work, it stated that moors are hot-headed as evident in this quote ‘you moors are of so hot a nature that every little trifle moves you to anger and revenge’ which is evident that moors are hot-headed. In scene 1 of the play, Iago told Desdemona father that his daughter was robbed by a thief, Iago uses metaphor to describes Othello as a “black ram”. Desdemona’s father was shocked that his daughter will fall in love with a black man. He believed that Othello must have use some magic to make his daughter fall in love with him; as there is social class difference at that time and it is unimaginable that a white woman will love a black men.
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.
From its 1604 publishing date until the modern era, Shakespeare’s Othello has continued to be an essential sociological tool in its historical evocation of discussions of prejudice. The modern chronology of Othello’s worldwide criticism is consistently laden with race issues and exhibits the development of human thought in its gradual drift away from the archaic structural notions of human difference toward a more humanist and sensible perspective. This timeline of documented literary reactions validate the importance of discussing race in Othello.
Under this historical context William Shakespeare writes in 1603 his tragedy Othello: The Moor of Venice, the story of that general "with thick lips" who represents the other, different from the society of the time. One might ask: is Othello a racist text?