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Journal articles on the topic 'Desdemona'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Rai, Ram Prasad. "Jealousy and Destruction in William Shakespear's Othello." Crossing the Border: International Journal of Interdisciplinary Studies 4, no. 1 (2017): 53–58. http://dx.doi.org/10.3126/ctbijis.v4i1.18430.

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Othello is honest. He wants to establish an order and peace in the society. He falls in love with a white lady, Desdemona. Despite the discontentment of Desdemona’s father Brobantio, they marry each other. Iago, an evil-minded man, is not happy with the promotion of Cassio, a junior officer to Iago, to lieutenant’s post in support of the chief Othello. Iago becomes jealous to Cassio and plans to destroy the relation between Othello and Cassio in any way it is possible. He uses Roderigo, a rejected suitor to Desdemona and Emilia, the innocent wife of Iago in his evil plot. Iago treacherously ma

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2

Hahn, Robert. "Desdemona Revived." Yale Review 92, no. 1 (2008): 104. http://dx.doi.org/10.1111/j.0044-0124.2004.00783.x.

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3

Walen, Denise A. "Unpinning Desdemona." Shakespeare Quarterly 58, no. 4 (2007): 487–508. http://dx.doi.org/10.1353/shq.2007.0058.

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4

Bodnar, Stephen. "Poem: Desdemona." English Journal 106, no. 5 (2017): 89. http://dx.doi.org/10.58680/ej201729102.

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5

Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli i

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6

Laskowska-Hinz, Sabina. "Designing Goddesses: Shakespeare’s "Othello" and Marian Nowiński’s "Otello Desdemona"." Multicultural Shakespeare: Translation, Appropriation and Performance 21, no. 36 (2020): 135–51. http://dx.doi.org/10.18778/2083-8530.21.09.

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The article discusses the intertextual relationship between the poster by Marian Nowiński, Otello Desdemona, and the content of Shakespeare’s play, while presenting the most important elements of the plot that are decisive for the portrayal of Desdemona. It also discusses the tradition of female nudes in Western art. This allows to usher out these characteristic features of elements of Desdemona that fashion her into Venus Caelestis and Venus Naturalis. The article focuses on the ambivalence of Nowiński’s poster and discusses the significance of the paintings by Titian, Giorgione, and Fuseli i

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7

Tsukamoto, Tomoka, and Ted Motohashi. "Deconstructing the Saussurean System of Signification." Critical Survey 33, no. 1 (2021): 23–47. http://dx.doi.org/10.3167/cs.2021.330103.

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Shakespeare’s Othello has been staged overwhelmingly through the racial relationship between the two protagonists, Othello and Iago, at the expense of another protagonist, Desdemona, partly because of the prominence of racial and military perspectives in European modernity, and partly because of the relatively scarce textual presence of Desdemona. Despite the tremendous efforts and contributions of feminist criticism to rectify the imbalance, this female protagonist has been enclosed in the realm of a patriarchal framework that divides women between ‘chaste wife’ and ‘villainous whore’. Miyagi

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8

Mezghani, Miriam. "A Conceptual Metaphor Account of Desdemona: Body, Emotions, Ethics." English Language and Literature Studies 11, no. 2 (2021): 20. http://dx.doi.org/10.5539/ells.v11n2p20.

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This paper aims to delve into Desdemona&rsquo;s mind in Shakespeare&rsquo;s Othello. In this paper, Desdemona&rsquo;s utterances are perused through conceptual metaphor analysis. The objective of this study is to disclose Desdemona&rsquo;s cognitive complexity, and conceptual metaphor analysis offers an opportunity to enter Desdemona&rsquo;s cognitive world notwithstanding the degradation of her speech. These conceptual metaphors will follow three major axes of scrutiny: body, emotions, and ethics. The findings of this paper demonstrate that a cognitive exploration of the c

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9

Peterson, William. "Consuming the Asian Other in Singapore: Interculturalism in TheatreWorks' Desdemona." Theatre Research International 28, no. 1 (2003): 79–95. http://dx.doi.org/10.1017/s0307883303000166.

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The Singaporean company TheatreWorks, under the artistic direction of Ong Keng Sen, has been responsible for the creation of a number of large-scale Asian intercultural works that have toured to international festivals from Adelaide to Hamburg. Among the best known of these are Lear and Desdemona, both of which use Shakespeare as a point of departure for new performance pieces that bring together practitioners representing a wide range of traditional and contemporary art forms. Unlike other intercultural experiments, in Lear and Desdemona practitioners stay largely within the frame of their ow

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10

KAYADUMAN, Büşra. "PORTRAIT OF OTHELLO AS AN EASTERN MAN." Siirt Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 10, no. 1 (2022): 83–87. http://dx.doi.org/10.53586/susbid.1103464.

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Othello, written by William Shakespeare, is one of the greatest works of all time. It is believed that Othello was written in 1603. The protagonist of the play, Othello, is a black man who is also the general of the Venetian forces. His wife is Desdemona, his lieutenant is Casio and his ensign is Iago. Othello centers on the private lives, problems and passions of its main four characters. Othello believes in Iago’s lies about Desdemona’s relationship with Casio so he kills Desdemona and kills himself at the end of the play. This paper aims to illustrate the portrayal of Othello as an evil man

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11

Brokaw, Katherine Steele. "Desdemona (review)." Shakespeare Bulletin 30, no. 3 (2012): 361–65. http://dx.doi.org/10.1353/shb.2012.0055.

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12

Ghosal, Sukriti. "Shakuntala, Miranda and Desdemona." Akademos: An Interdisciplinary Journal Of Literature and Culture I, no. i (2021): 102–9. https://doi.org/10.5281/zenodo.5249874.

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13

Porter, Laurin. "Shakespeare's "Sisters": Desdemona, Juliet, and Constance Ledbelly inGoodnight Desdemona (Good Morning Juliet)." Modern Drama 38, no. 3 (1995): 362–77. http://dx.doi.org/10.3138/md.38.3.362.

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14

Friedman, Sharon. "Revisioning the Woman's Part: Paula Vogel's ‘Desdemona’." New Theatre Quarterly 15, no. 2 (1999): 131–41. http://dx.doi.org/10.1017/s0266464x00012823.

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In Desdemona, Paula Vogel's revision of Shakespeare's Othello, we have a Desdemona who is Othello's worst nightmare, the transformation of lago's fiction into reality. Why has Paula Vogel created a Desdemona who, though ostensibly inside out, still appears to be Othello's projection? Sharon Friedman argues that although Paula Vogel's raucous Desdemona draws on many of the conventions of feminist revisioning, it marks an important shift in the feminist critical perspective in drama – as characterized by Lynda Hart, ‘from discovering and creating positive images of women … to analyzing and disru

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15

han, doin. "A Study on the Modern Adaptation of Classics to Improve Learners’ Critical Literacy: Shakespeare’s <Othello> and Modern <Desdemona>s." Korean Association For Learner-Centered Curriculum And Instruction 23, no. 17 (2023): 173–87. http://dx.doi.org/10.22251/jlcci.2023.23.17.173.

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Objectives The purpose of this study is to analyze the modern adaptations of classics, Shakespeare, in order to use as liberal art education content to improve reader/learners' critical literacy. Methods Together with Shakespeare’s Othello, Desdemona: A Play about a Handkerchief by Paula Vogel and Desdemona by Toni Morrison, two modern adaptations of Othello, are analyzed, focusing on gender and racial issue with which Shakespeare’s Othello dismissed to deal in the patriarchal discourse. Results Desdemona: A Play about a Handkerchief represents social conflicts on

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16

Hawks, David. "Review of the Catocala delilah species complex (Lepidoptera, Erebidae)." ZooKeys 39, no. 39 (2010): 13–35. https://doi.org/10.3897/zookeys.39.439.

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The members of the Nearctic <em>Catocala delilah</em> species complex are reviewed. One new species (<em>C. caesia</em>) and four new subspecies are described, one subspecies is reinstated to specific rank (<em>C. desdemona</em>), and one species and three subspecies are placed into synonymy. A neotype is designated for <em>C. calphurnia</em> and a lectotype is designated for <em>C. desdemona</em>.

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17

Ridge, Kelsey. "‘You don’t have the right to hit anyone’: Domestic violence in Othello and Omkara." Indian Theatre Journal 5, no. 1 (2021): 103–13. http://dx.doi.org/10.1386/itj_00019_1.

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Alongside the infamous jealousy of Shakespeare’s Othello lies the domestic violence that brings the play to its dark conclusion. Vishal Bhardwaj’s 2006 Bollywood adaptation, Omkara, involves the same issues. The domestic violence, however, is present in different forms. It is a prominent part of Desdemona’s plot arc and an important element of Emilia’s backstory. Dolly’s experience mirrors that of Desdemona. However, Indu’s relationship with Langda is quite different from Emilia’s relationship with Iago. These alterations lead Indu and Langda, though not Dolly and Omkara, to different outcomes

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18

Raina, Arjun. "Desdemona moksham: A Shakespearean murder revisited." Indian Theatre Journal 5, no. 1 (2021): 87–102. http://dx.doi.org/10.1386/itj_00018_1.

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This article examines two performances, Othello in Kathakali and The Magic Hour, concentrating the analysis around two different choices made around a single action: the killing of Desdemona. While Desdemona is killed in the Kathakali Othello, in The Magic Hour this does not occur. The argument in this article differs from a critique that suggests Othello in Kathakali, created by Sadanam Balakrishnan and performed by the International Center for Kathakali in New Delhi, fails to nuance the inherent misogyny in the original Shakespearean text while improvising on its own conventions. A sustained

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19

Williams. "Why Did Desdemona Love the Moor?" Tennessee Williams Annual Review, no. 19 (2020): 24. http://dx.doi.org/10.2307/48630838.

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20

Huq, Syed Anwarul. "Desdemonas Handkerchief: Its Symbolic Significance." Stamford Journal of English 7 (April 6, 2013): 159–68. http://dx.doi.org/10.3329/sje.v7i0.14471.

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21

Fortier, Mark. "Shakespeare with a Difference: Genderbending and genrebending in Goodnight Desdemona." Canadian Theatre Review 59 (June 1989): 47–51. http://dx.doi.org/10.3138/ctr.59.011.

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Imagine Ann-Marie MacDonald on tour with Nightwood Theatre’s This is for You, Anna, a play which presents a woman with the strength and will to exact the most violent revenge against a man who submits her young daughter to sexual victimization, a victimization unto death. Set this play and this woman against Othello and the pale Desdemona who dares ask for no revenge. Then imagine MacDonald, in grim jest, passing amongst the touring company, from bed to bed, pillow in hand: she feigns the smothering of each woman, each time saying, “Goodnight, Desdemona!” Such is the germination of a feminist

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22

Ibrahim Ismael, Zaid. "Edgar Allan Poe’s Desdemona: The Untold Story." International Journal of Literary Humanities 18, no. 2 (2020): 27–32. http://dx.doi.org/10.18848/2327-7912/cgp/v18i02/27-32.

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23

Sasser. "Unraveling the “‘Desdemona’ Thing” in Tennessee Williams." Tennessee Williams Annual Review, no. 15 (2016): 147. http://dx.doi.org/10.2307/48615437.

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24

Evans, Robert C. "Oliver Parker's Filmed Othello: Desdemona and Design." Ben Jonson Journal 24, no. 2 (2017): 268–84. http://dx.doi.org/10.3366/bjj.2017.0197.

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This essay examines the 1995 filmed version of Shakespeare's Othello, directed by Oliver Parker and starring Laurence Fishburne. For the first time in a big-budget movie, Othello was played by a black man – an astonishing fact when one considers that this development did not occur until almost the very end of the twentieth century. This essay briefly surveys the often highly divergent responses the film received. It concludes by defending various aspects of the film, including its tightly knit structure and also the performance by Irène Jacob as Desdemona. Because Jacob's presence in the film

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25

Grehan, Helena. "Theatre Works' Desdemona: Fusing Technology and Tradition." TDR/The Drama Review 45, no. 3 (2001): 113–25. http://dx.doi.org/10.1162/10542040152587141.

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“Interculturalism” needs to be expanded and redefined to include the responses of spectators as well as the work of artists. In what ways does Theatre Works' Desdemona, as seen at the 2000 Adelaide Festival, represent a “new wave of Asian production”? Or are such works disturbing evidence of the increasing erosion of the local?

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26

Valente Pais, A. R., M. Wentink, M. M. van Paassen, and M. Mulder. "Comparison of Three Motion Cueing Algorithms for Curve Driving in an Urban Environment." Presence: Teleoperators and Virtual Environments 18, no. 3 (2009): 200–221. http://dx.doi.org/10.1162/pres.18.3.200.

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Research on new automotive systems currently relies on car driving simulators, as they are a cheaper, faster, and safer alternative to tests on real tracks. However, there is increasing concern about the motion cues provided in the simulator and their influence on the validity of these studies. Especially for curve driving, providing large sustained acceleration is difficult in the limited motion space of simulators. Recently built simulators, such as Desdemona, offer a large motion space showing great potential as automotive simulators. The goal of this research is: first, to develop a motion

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27

Bento, Carlos. "O gênero atuante: a performance de gênero em The passion of new Eve and Goodnight Desdemona (good morning Juliet)." Em Tese 12 (December 31, 2008): 32. http://dx.doi.org/10.17851/1982-0739.12.0.32-37.

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Este texto usa a performance de gênero, teoria desenvolvida por Judith Butler, para ler algumas partes dos livros The passion of new Eve, escrito pela inglesa Angela Carter, e Goodnight Desdemona (Good morning Juliet), da canadense Ann-Marie MacDonald.

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28

Bento, Carlos. "O gênero atuante: a performance de gênero em <i>The passion of new Eve </i>and <i>Goodnight Desdemona (good morning Juliet)</i>." Em Tese 12 (December 31, 2008): 32–37. https://doi.org/10.17851/1982-0739.12..32-37.

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Este texto usa a performance de gênero, teoria desenvolvida por Judith Butler, para ler algumas partes dos livros The passion of new Eve, escrito pela inglesa Angela Carter, e Goodnight Desdemona (Good morning Juliet), da canadense Ann-Marie MacDonald.

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29

Giliberto, Massimo. "The story of Desdemona: psychotherapy conducted with a PCP approach." Rivista Italiana Costruttivismo 8, no. 2 (2020): 29–41. http://dx.doi.org/10.69995/ibfl6218.

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This presentation is an exploration of a client-therapist relationship and the story of their experiences in the context of psychotherapy. Through the case of a female victim of domestic violence – who repeatedly chose violent men as partners – it is an investigation into how, using Personal Construct Psychology, the therapist understands his client and how this understanding channels new experiments in the psychotherapy room and in the life of the client. It also explores how these new experiences contribute to changing the client’s identity constructs, helping her to change from the role of

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30

ASSING, VOLKER. "A revision of Calodera Mannerheim. III. A new species from Russia and a key to the Palaearctic species of the genus (Coleoptera: Staphylinidae: Aleocharinae)." Zootaxa 311, no. 1 (2003): 1. http://dx.doi.org/10.11646/zootaxa.311.1.1.

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Calodera lunata sp. n. (Russia: Komi Republic) is described, illustrated, and distinguished from the Eastern Palaearctic C. zerchei Assing, 2003 and C. desdemona Sharp, 1888. Calodera hebeiensis Pace, 1999 is transferred to Parocyusa Bernhauer. A key to the Palaearctic species of Calodera is provided.

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31

Eward-Mangione, Angela. "Debating Decolonization: The Use of Postcolonial Metatheatre in Murray Carlin’s Not Now, Sweet Desdemona." Modern Drama 67, no. 2 (2024): 217–36. http://dx.doi.org/10.3138/md-67-2-1212.

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This article considers Not Now, Sweet Desdemona (1967) by the South African playwright Murray Carlin as an intervention in the critical and performance histories of Othello, situating Shakespeare’s tragedy within contemporary postcolonial and apartheid-era debates. Carlin’s play reveals multiple interlocking layers of meta-commentary to illustrate the ways in which Othello is haunted by postcolonialism. This reading builds on Marvin Carlson’s notion of the haunted stage as well as Joanne Tompkins’s account of postcolonial metatheatre, in which an embedded counter-discourse assists in the rerea

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32

Mitchell. "Introduction to “Why Did Desdemona Love the Moor?”." Tennessee Williams Annual Review, no. 19 (2020): 11. http://dx.doi.org/10.2307/48630837.

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33

Hopkins, Justin B. "The Comedy of Errors dir. by Desdemona Chiang." Shakespeare Bulletin 37, no. 4 (2019): 572–75. http://dx.doi.org/10.1353/shb.2019.0064.

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34

Bles, Willem, and Eric Groen. "The DESDEMONA Motion Facility: Applications for Space Research." Microgravity Science and Technology 21, no. 4 (2009): 281–86. http://dx.doi.org/10.1007/s12217-009-9120-1.

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35

Gigliucci, Roberto. "What Iago Knew." English Language and Literature Studies 8, no. 1 (2018): 45. http://dx.doi.org/10.5539/ells.v8n1p45.

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This paper defines Iago as a master of time. He knows the future, or, even better put, he is able to foresee it quite brilliantly. Such an ability is typical of a Melancholy character, which, as known, can be a veritable villain. Iago instinctively knows that Desdemona will come to grow weary of the Blackamoor, and he detects her attraction to the young, handsome, and white Cassio. As head and meta-theatrical director, Iago sets out to compress time, and so exert pressure on the other characters. As a result, what would normally take place over a longer stretch of time, becomes quickly contrac

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36

Rapetti, Valentina. "‘I was your slave’: Revisioning kinship in Toni Morrison and Rokia Traoré’s Desdemona." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 237–57. http://dx.doi.org/10.1386/jafp_00030_1.

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This article offers a critical reading of Desdemona (2012), a cross-cultural theatre adaptation of William Shakespeare’s Othello staged by American theatre and opera director Peter Sellars, with texts by African American Nobel laureate Toni Morrison and music and lyrics by Malian singer-songwriter Rokia Traoré. By drawing on early modern race studies and Marshall Sahlin’s notion of ‘mutuality of being’, the article discusses Morrison’s lyrical prose as well as Traoré’s songs and performance to show how they merge and amplify one another in Sellars’ meditative staging to jointly rearticulate ea

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37

Assing, Volker. "A revision of Calodera Mannerheim. II. A new species, new synonyms, and additional records (Coleoptera: Staphylinidae: Aleocharinae)." Beiträge zur Entomologie = Contributions to Entomology 53, no. 1 (2003): 217–30. http://dx.doi.org/10.21248/contrib.entomol.53.1.217-230.

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Eine Untersuchung von Material, das seit dem ersten Teil der Revision verfügbar wurde, ergab weitere Nachweise von Calodera-Arten. C. zerchei sp. n., die erste Art aus dem Fernen Osten Russlands, wird beschrieben und von der nur aus Japan bekannten C. desdemona Sharp unterschieden. Zwei Synonymien werden begründet: Calodera Mannerheim, 1830 = Ityocara Thomson, 1867, syn. n.; Calodera aethiops (Gravenhorst, 1802) = Aleochara (Calodera) perspicua Gistel, 1857, syn. n. Calodera rubens Erichson, die Typusart von Ityocara, wird wieder Calodera zugeordnet. Die Sexualmerkmale von Calodera rubens, C.

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38

Awad, Yousef, and Mahmoud F. Al-Shetawi. "Jamal Mahjoub’s The Carrier as a Re-writing of Shakespeare’s Othello." International Journal of Applied Linguistics and English Literature 6, no. 5 (2017): 173. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.5p.173.

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This paper examines how Arab British novelist Jamal Mahjoub appropriates and interpolates Shakespeare’s Othello. Specifically, this paper argues that Mahjoub’s historical novel The Carrier (1998) re-writes Shakespeare’s Othello in a way that enables the novelist to comment on some of the themes that remain unexplored in Shakespeare’s masterpiece. Mahjoub appropriates tropes, motifs and episodes from Shakespeare’s play which include places like Cyprus and Aleppo, Othello’s identity, abusive/foul language, animalistic imagery, and motifs like the eye, sorcery/witchcraft, the storm and adventurou

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39

Blomster, Wes, and Christine Brückner. "Wenn du geredet hättest, Desdemona: Ungehaltene Reden, ungehaltener Frauen." World Literature Today 59, no. 1 (1985): 81. http://dx.doi.org/10.2307/40140616.

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40

Lan, Yong Li. "Ong Keng Sen's Desdemona, Ugliness, and the Intercultural Performative." Theatre Journal 56, no. 2 (2004): 251–73. http://dx.doi.org/10.1353/tj.2004.0065.

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41

Joubin, Alexa Alice. "Trans as Method: The Sociality of Gender and Shakespeare." Borrowers and Lenders The Journal of Shakespeare Appropriations 14, no. 2 (2023): 3–21. http://dx.doi.org/10.18274/bl.v14i2.314.

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This special issue on contemporary performance proposes “trans” as method and as a social practice rather than as an immutable identity category that stands in opposition to more established ones such as cisgender men or cisgender women. We ask new questions about Shakespearean performance: How might the meanings of the plays change if we consider them as transgender performances rather than cis-centric stories requiring suspension of disbelief about cross-gender roles? What if the body of the female character and the actor’s somatic presence exist on a continuum rather than in contrary fixati

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42

Rapetti, Valentina. "Staging Desdemona in African time: A conversation with Peter Sellars." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 319–36. http://dx.doi.org/10.1386/jafp_00034_7.

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For the past 40 years, Peter Sellars has been one of the most innovative, eclectic and prolific directors in Western theatre. A deeply cultivated and politically committed practitioner whose vision and craft span a multitude of widely divergent theatrical traditions, genres and styles, Sellars has established his international reputation as a polymath in the performing arts. With more than 100 productions to his name, including community-based, transnational and transcontinental work, Sellars is known worldwide for his contemporary interpretations of canonical plays and operas that combine rad

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43

Rapetti, Valentina. "Channelling the dead: A conversation on Desdemona with Tina Benko." Journal of Adaptation in Film & Performance 13, no. 3 (2020): 305–18. http://dx.doi.org/10.1386/jafp_00033_7.

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Tina Benko is an American stage, screen and television actress who has steadily trodden the Broadway boards for twenty years while starring in films and TV series and teaching acting and movement in New York City. An intensely focused and versatile performer, Benko has played in a broad variety of genres, ranging from screwball and Shakespearean comedies to realistic Russian, Scandinavian and American plays. In this interview, she discusses the factors that attracted her to drama and theatre, her acting training and approach to character-building, and theatre as a space for healing and reconci

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44

Edward Kahn. "Desdemona and the Role of Women in the Antebellum North." Theatre Journal 60, no. 2 (2008): 235–55. http://dx.doi.org/10.1353/tj.0.0002.

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45

Hays, Michael L. "Who Wooed Desdemona?: The Crux at Othello, III, III, 94*." Notes and Queries 64, no. 2 (2017): 284–87. http://dx.doi.org/10.1093/notesj/gjx029.

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46

Perletti, Greta. "“A THING LIKE DEATH”: MEDICAL REPRESENTATIONS OF FEMALE BODIES IN SHAKESPEARE’S PLAYS." Gender Studies 12, no. 1 (2013): 93–111. http://dx.doi.org/10.2478/genst-2013-0006.

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Abstract While the hysterical ailments of women in Shakespeare’s works have often been read from psychoanalytical standpoints, early modern medicine may provide new insights into the ‘frozen’, seemingly dead bodies of some of his heroines, such as Desdemona, Thaisa, and Hermione. In the wake of recent critical work (Peterson, Slights, Pettigrew), this paper will shed fresh light on the ‘excess’ of female physiology and on Shakespeare’s creative redeployment of some medical concepts and narratives.

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47

Sandri, Vittorio. "Love, Jealousy, and the Fear of Ontological Dependence: A Philosophical Reading of Shakespeare's Othello." Philosophy and Literature 48, no. 1 (2024): 149–64. http://dx.doi.org/10.1353/phl.2024.a930335.

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Abstract: Othello truly loves Desdemona and yet, this paper argues, he wants on some level to believe in her infidelity. But if he loves her so much, why would he want to believe in something that would destroy that love? The answer to this mystery, I contend, must be found in the connections between jealousy, love, and the great existential fragility to which love can expose us—connections that Shakespeare's play is capable of illuminating in uniquely powerful and profound ways.

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Salim, Taha Khalaf. "Shakespeare’s Othello: the Open Nature of the Hero and its Devastative Upshot." JOURNAL OF LANGUAGE STUDIES 1, no. 4 (2023): 1–11. http://dx.doi.org/10.25130/jls.1.4.4.

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Emanated from many characters, jealousyis the essence of Shakespeare’s Othello for causing thepersonal conflict within the play. It is used to be themotive for destructive actions that lead to the sorrowfulends of many characters including the tragic hero,Othello, who proves that jealousy is one of the mostsubversive emotions. The aim of this research is toconcentrate on Othello’s open nature as a tragic flaw thatcreates his vulnerability to be jealous of the allegeddisloyalty of Desdemona, his faithful wife, and then to killher.

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Bartels, Emily C. "Strategies of Submission: Desdemona, the Duchess, and the Assertion of Desire." Studies in English Literature, 1500-1900 36, no. 2 (1996): 417. http://dx.doi.org/10.2307/450956.

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Stratton, Allan, Ann-Marie MacDonald, John Krizanc, and Denis Johnston. "Bag Babies, Goodnight Desdemona (Good Morning Juliet), The Half of It." Canadian Theatre Review 74 (March 1993): 85–86. http://dx.doi.org/10.3138/ctr.74.016.

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On the economic front, we see the gap widening between the affluent and the poor, and money brokers fiddling while the environment burns. In the eternal struggle between the sexes, familiar rules change with increasing speed. The three plays reviewed here are all comedies which tackle such serious issues. And although humanism is one of the traditional “isms” in question, the plays stand or fall on the characters they place at the crux of their social issues.

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