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Othello revelance to todays era
Character development of othello
Character of Othello by Shakespeare
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Along the crowded streets of Philadelphia the cars rush by and people are always in a hurry, but the poverty of the people that live in the neighborhoods can never be hidden. The name, the City of Brotherly Love, is almost ironic as crime and hate fill the streets of the city. There is a division between the people that can not be hidden, but only exaggerated by people’s interactions. This is the setting in which the Shakespearian play “Othello” will be interpreted. This modernization of this classic tragedy will be more appealing to the youth of today, who will be able to relate more to the characters and the setting of the play. The changes to the plot and the language of the play are minimal, but the changes to the setting and characters are drastic. The same issues, race, jealousy, and manipulation, still remain, but there is a twist to how they are portrayed.
The setting of the play is dramatically changed from Venice and Cyprus to inner city Philadelphia. This one change alters the scenes and characters roles in society, but allows Shakespeare’s original plot to be carried out. It has been said that, “High school proved a neat setting for contemporary versions of Shakespeare’s comedies: Strong headed adolescent embarking on first love come with the fitting you’d struggle to find more sharply defined social strata or better opportunity for self-conscious humiliation” (Walters, 2002). By setting the film in a high school, characters are at a very vulnerable point in their lives as they are discovering new things about themselves, are forming relationships, and have insecurities about themselves. Often during these vulnerable years, teens use bullying and cruelty to get others to conform or get ...
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.... This modern setting and the contemporary characters help today’s audiences understand the complexities of human relationships and the destructive qualities of jealousy that Shakespeare wrote about in the original play. This film, just as the original play, is very much a tragedy where treachery and jealousy lead to the untimely deaths of Othello and Desdemona.
Works Cited
Bell, Millicent. “Shakespeare’s Moor”. Raritan. Vol. 21(2002): 1-14.
Bent, Geoffrey. “Three green eyes monsters: acting as applied criticism in Shakespeare’s Othello”. The Antioch Review. Summer 1998: 358-73.
Fierman, Daniel. “The Story of O”. Entertanment Weekly. 10 Aug 2001: 20-3.
Walls, Lisa. Bullying and Sexual Harrassment in Schools. Committee for Children. http://www.cfchildren.org/article_walls1.shtml.
Walters, Ben. “O”. Sight and Sound. February 2002: 56-7.
Picture this- William Harold Shakespeare, the most coveted playwriter in the history of the world, sitting at his desk, perspicaciously pondering over what shall become his most prominant and delicated tragedy of yet. Of course, given what little is known about Shakespeere displays, such deepseated imagery cannot simply be accomplished without first the propriety of haste and vinction.And yet, his very own rhetorical vibe displays allows such a vague pictoration to be concieved. Throughout the whole of Othello, the great Shakespeare remarks through an astounding displays show of pronouns, allitteration, and cacophonous diction his own resentment of both the King of Italy and the poor conditions of the said novelist.
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994. (page 39-55)
...ence more reasoning to the jealousy of the characters and the actions they take. With the changed setting come many differences: drugs and alcohol, peer pressure, violence, and different sources for jealousy and hatred. These issues are the dilemmas we, as teenagers in this new millennium, are faced with day to day. "O" addresses these new era evils without abandoning the original themes and major issues of Shakespeare's Othello. The audience can relate to a story written down hundreds of years ago and benefit from it.
"Othello." Shakespearean Criticism. Ed. Lynn M. Zott. Vol. 68. Detroit: Gale, 2003. N. pag. Literature Resources from Gale. Web. 8 May 2014. .
...Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.
Othello avoids all irrelevancies and the action moves swiftly from the first scene to the denouement. We never get lost in a multiplicity of incidents or a multitude of characters. Our attention remains centered on the arch villainy of Iago and his plot to plant in Othello’s mind a corroding belief in his wife’s faithlessness. (viii)
Jones, Eldred. "Othello- An Interpretation" Critical Essays on Shakespeare's Othello. Ed. Anthony G. Barthelemy Pub. Macmillan New York, NY 1994.
Othello is a man of romantic nature. He fell in love with the beautiful Desdemona. He was accused of stealing her away from her father. Othello was of a different race and did not fit in with her family. Othello makes a plea for Desdemona and tells his story which wooed her to begin with. Othello tells of the love that her father showed him since his boyish days. This was like a match made in heaven that overcame many obstacles which got in their way. Othello could not understand why he was good enough to work and fight alongside of her father, but was not good enough for his daughter.
Mowat, Barbara A. and Paul Werstine, ed. Introduction. Shakespeare: Othello. New York: Washington Square Press, 1993.
11 Dec. 2011. The "Othello". Shakespeare for Students: Critical Interpretations of Shakespeare's Plays and Poetry. Ed. Anne Marie Hacht.
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.
Essential to the success of Othello is the fact that the issues and themes explored in this tragedy, written by Shakespeare in about 1604, are still relevant to the modern audience. The interest of an audience is held by themes that are fundamental to the human condition, as these reflect our world and examine human nature. Othello explores the issues of racism, gender, domestic violence, the supernatural and the pathology of the entirely evil person, which are all remarkably relevant to our time. Thus the interest of the audience is held, as issues that affect the viewers and readers of the play spark individual opinions, reflection and thought.
Godfrey, D.R. "Shakespeare and the Green-Eyed Monster." Neophilologus. Vol VI. No 2. 1972 April. 207-20. Novels for Students. 7 November 2004. http://www.enotes.com/othello/17318/print
Othello teaches us much about our current postmodern culture. The play connects to our ideas of sexism, male-bonding, racism and capitalism. Shakespeare uses these universal and timeless flaws in humanity along with our use of language and truth to tell his tale. Iago, over a period of about three days, uses these facets of humanity to turn Othello against his wife Desdemona and his friend Cassio. Othello reveals both the struggle of the British people of the early 1600's and Americans in the late 1900's with sexism, capitalism and racism.
Gardner, Helen. “Othello: A Tragedy of Beauty and Fortune.” Readings on The Tragedies. Ed. Clarice Swisher. San Diego: Greenhaven Press, 1996. Reprint from “The Noble Moor.” British Academy Lectures, no. 9, 1955.