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Journal articles on the topic 'Othello'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 July 2025

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1

Hogan, Lalita Pandit. "Emotional Tears and Racial Stigma in Orson Welles's Othello and Vishal Bhardwaj's Omkara." Projections 18, no. 1 (2024): 53–72. http://dx.doi.org/10.3167/proj.2024.180104.

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Abstract On the basis of two film adaptations of Shakespeare's Othello, Orson Welles's (1952/1955) Othello and Vishal Bhardwaj's Omkara (2006), this article focuses on Othello's emotional tears, and how they mitigate, or not, the effects of racial stigmatization. The “Othello dilemma,” as I call it, refers to how Othello continues to be understood as an example of his race, rather than as an individual. How do the two films deal with this dilemma? This article draws on current research in cognitive neuroscience to underscore the pro-social function of emotional tears. Both films avoid direct v

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2

Kowalcze-Pawlik, Anna. "The Moor’s Political Colour: Race and Othello in Poland." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (2020): 171–90. http://dx.doi.org/10.18778/2083-8530.22.10.

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This paper provides a brief outline of the reception history of Othello in Poland, focusing on the way the character of the Moor of Venice is constructed on the page, in the first-published nineteenth-century translation by Józef Paszkowski, and on the stage, in two twentieth-century theatrical adaptations that provide contrasting images of Othello: 1981/1984 televised Othello, dir. Andrzej Chrzanowski and the 2011 production of African Tales Based on Shakespeare, in which Othello’s part is played by Adam Ferency (dir. Krzysztof Warlikowski). The paper details the political and social contexts

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3

Sapa, Gregorius, Maksimilianus Doi, and Febe F. I. Wanggai. "THE DETERIORATION OF HERO IN WILLIAM SHAKESPEARE’S OTHELLO THE MOOR OF VENICE." Lantern: Journal of Language and Literature 8, no. 1 (2024): 39–52. http://dx.doi.org/10.37478/lantern.v8i1.3833.

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This study aimed at describing Othello’s deterioration in William Shakespeare’s The Moor of Venice through the intrinsic aspects of the drama. This study adopted structuralism approach and the theory of wholeness to answer the problem issued. This study used descriptive qualitative design that the data were taken from William Shakespeare the Tragedy of Othello the Moor of Venice edited by Alvin Kernan (1963). The results denote that Othello has flaws which lead to his deterioration. Gullible and excessive in loving his wife are the flaws that produce jealousy. Finally, without knowing the fact

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4

Hizam, Akram Nagi, and Fangyun Guo. "Aspects of Cartographic Demonization in Shakespeare’s Othello." Journal of Critical Studies in Language and Literature 6, no. 3 (2025): 29–35. https://doi.org/10.46809/jcsll.v6i3.354.

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This research paper examines the concept of cartographic demonization in Shakespeare’s Othello, focusing on how geography and spatial metaphors are employed to geographically demonize and marginalize Othello as an outsider, based on his geographical background. Cartographic demonization, defined as the process of using maps, geographical representations, or spatial imagery to produce negative views of certain individuals or locations, is essential to comprehending Othello’s depiction as the “tainted Other.” The study explores how spatial and racial constructs contribute to Othello’s alienation

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5

Setyaningrum, Rizky. "OTHELLO’S VERBAL DEFENCE: DISTORTING REALITY IN SHAKESPEARE’S OTHELLO." IJOLTL: Indonesian Journal of Language Teaching and Linguistics 3, no. 2 (2018): 133–46. http://dx.doi.org/10.30957/ijoltl.v3i2.452.

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The study describes Othello’s verbal defences by means of Perry London’s Verbal Defences theory as reflected in William Shakespeare’s Othello, the Moor of Venice. The study was a content analysis whose primary data were words, phrases, sentences and dialogues in the play. The secondary data were articles discussing the Othello, the Moor of Venice. Data were analyzed through determining Othello’s arguments on ego verbal defence mechanisms using Perry London’s Verbal Defences theory. This study revealed that three elements of verbal defences, namely, emotional insulation, intellectualization, an

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6

Sniderman, Alisa Zhulina. "In the Dark: Sex, Lies, and Fake News in Sam Gold’s Othello." TDR/The Drama Review 61, no. 4 (2017): 128–33. http://dx.doi.org/10.1162/dram_a_00696.

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Sam Gold’s production of Othello explores the interrelated themes of war and the cultural construction of identity by foregrounding the play’s encounters between Christianity and Islam. Instead of focusing solely on Othello’s race, Gold’s political and ethical reevaluation of Shakespeare’s Othello examines the many facets of blackness, from a color assigned to people to the epistemological state of being in the dark.

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7

Maharani, Puja, and Tomi Arianto. "ANXIETY THAT CONVEYING TRAGEDY IN OTHELLO DRAMA BY SHAKESPEARE." JURNAL BASIS 9, no. 2 (2022): 303–12. http://dx.doi.org/10.33884/basisupb.v9i2.6421.

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Humans are always in touch with the needs in this life. In order to survive, one of the most important examples is the need for safety needs. The phenomenal drama Othello by Shakespeare was chosen as the main data source in this research. This research aimed to analyze the unfulfilled of safety needs in the form of anxiety and its impact on the main character in Shakespeare's drama "Othello". This drama was set in 1603 with a tragedy and was written by the world-famous playwright William Shakespeare. The story that ended in tragedy is inseparable from the anxiety used by others to overthrow po

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8

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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9

Stein, Mark. "The Othello Conundrum: The Inner Contagion of Leadership." Organization Studies 26, no. 9 (2005): 1405–19. http://dx.doi.org/10.1177/0170840605055339.

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The purpose of this paper is to contribute to the literature on leadership, emotions and organizations by examining Shakespeare’s Othello. While much of the existing literature focuses exclusively on the external dimensions of leadership, this paper adds a new dimension by focusing as well on the internal workings of the mind of the leader, here that of Othello. This focus is made possible by postulating that the subordinate Iago — whose relationship to Othello is central to the plot — represents an inner character within Othello’s mind, as well as an external character. As an inner character,

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10

Johanyak. "Shifting Religious Identities and Sharia in Othello." Religions 10, no. 10 (2019): 587. http://dx.doi.org/10.3390/rel10100587.

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Despite twenty-first century research advances regarding the role of Islam in Shakespeare’s plays, questions remain concerning the extent of William Shakespeare’s knowledge of Muslim culture and his use of that knowledge in writing Othello. I suggest that the playwright had access to numerous sources that informed his depiction of Othello as a man divided between Christian faith and Islamic duty, a division which resulted in the Moor’s destruction. Sharia, a code of moral and legal conduct for Muslims based on the Qur’an’s teachings, appears to be a guiding force in Othello’s ultimate quest fo

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11

Trivedi, Poonam. "In and out of Othello." Indian Theatre Journal 5, no. 1 (2021): 137–48. http://dx.doi.org/10.1386/itj_00021_1.

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Othello has been the play that seems to speak to current issues of racism and sexism for the last couple of decades. Recent Indian productions have stretched its relevancies further, particularly addressing the politics of identity, of individual and state, of belonging and othering. The 2014 award-winning Assamiya film Othello (We Too Have Our Othellos) appropriates and radicalizes the main concerns of the play to embody and critique the movements for self-determination that continue to rage in the state. The article examines this unusual Indian adaptation of Shakespeare that locates the play

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12

Nadal-Ruiz, Alejandro. "Celebrating Cultural Hybridity Through Storytelling: Othello as a Borderlands Character in Caryl Phillips’ The Nature of Blood." ES Review. Spanish Journal of English Studies, no. 42 (November 9, 2021): 199–215. http://dx.doi.org/10.24197/ersjes.42.2021.199-215.

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This paper provides a new approach to Othello’s story in Caryl Phillips’ polyphonic novel The Nature of Blood (1997). The fictional Othello finds himself at the crossroads between different cultures and is struggling to define his identity. Making use of Gloria Anzaldúa’s borderlands theory as exposed in her work Borderlands/La Frontera (1987), this study explores Phillips’ Othello as a borderlands character. Accordingly, it is the purpose of this paper to demonstrate that, as a borderlands character-narrator, Othello succeeds in bringing together the two hitherto conflicting cultures that he

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13

Khalil, Amna, and Rubab Ayub. "Postcolonial Othering in William Shakespeare’s Play Othello; The Moor of Venice." Journal of English Language, Literature and Education 2, no. 02 (2020): 89–100. http://dx.doi.org/10.54692/jelle.2020.020276.

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The term postcolonial appeared for the first time in the mid-1980s, in the scholarly journals as subtexts in the writings of Ashcroft, Griffiths, and Tiffin. The term was later established in academic and popular discourse. Its thematic concerns include universality, differences, nationalism, postmodernism, representation and resistance, ethnicity, feminism, language, education, history, place, and production (Ashcroft, Griffiths & Tiffin, 2004.Key Concepts in Postcolonial Studies, p.2). It is the literature that has been created as a voice to the powerless and the poorest members of the g

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14

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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15

Jayakumar, Archana. "Anti-Othellos and postcolonial Others in Izzat and Aastha." Indian Theatre Journal 5, no. 1 (2021): 59–72. http://dx.doi.org/10.1386/itj_00016_1.

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While Indian cinematic adaptations that attempt to recreate William Shakespeare’s Othello have received scholarly attention, practically no work has been done on films that make fleeting references to the source text while questioning its authority. This article aims to fill the gap by presenting two Hindi-language postcolonial adaptations, namely Izzat (1968) and Aastha (1997), that can be read as anti-Othello films. They challenge Shakespeare’s status as a colonial icon in independent India by terming his works as ‘rotting feudal tales’ and by subverting Othello’s murder of Desdemona. Howeve

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16

Michels-Gualtieri, Akaela. "Othello: A Moor Rorschach Test." New Theatre Quarterly 40, no. 3 (2024): 280–87. http://dx.doi.org/10.1017/s0266464x24000241.

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The evolution of the colour of Othello’s skin-tone is a surprisingly accurate cultural barometer of attitudes towards race in the eyes of scholars. A significant portion of the critical literature is focused upon the Moor’s complexion as one of the main variables within the play. Yet the fact that the script has itself become a variable, and not a constant, has been neglected. This text’s transformation can be traced alongside the ratification of racial laws. In Jacobean England, Antebellum American, and Imperial Germany, audiences respectively experienced Othello committing divergent crimes,

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17

Khomenko, Natalia. "From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (2021): 75–89. http://dx.doi.org/10.18778/2083-8530.23.05.

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Othello was the most often-staged Shakespeare play on early Soviet stages, to a large extent because of its ideological utility. Interpreted with close attention to racial conflict, this play came to symbolize, for Soviet theatres and audiences, the destructive racism of the West in contrast with Soviet egalitarianism. In the first decades of the twenty-first century, however, it is not unusual for Russian theatres to stage Othello as a white character, thus eliminating the theme of race from the productions. To make sense of the change in the Russian tradition of staging Othello, this article

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18

Bekmurodova, F.N., and S. Mirzayorova. ""INTERCULTURAL COMMUNICATION STYLES AND RESPECT FOR VALUES: AN ANALYSIS BASED ON SHAKESPEARE'S OTHELLO TRAGEDY"." Oriental Renaissance: Innovative, educational, natural and social sciences 4, no. 25 (2024): 136–39. https://doi.org/10.5281/zenodo.14262330.

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<em>This article examines the concept of intercultural communication styles, and respect for values based on Shakespeare's tragedy Othello are analyzed. Tragedy explores themes of race, culture, and trust, showing how it affects cross-cultural communication and social relationships. The article analyzes Othello's unique place in Venetian society and how his racial background shapes his relationships and connections with cultured people. It also emphasizes the importance of respecting people of different cultures and thereby helps cultures and avoids conflict. Through Othello, the article attem

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19

Kovalevskaya, Tatyana Vyacheslavovna. "Othello and his “tragic flaw”." Philology. Issues of Theory and Practice 17, no. 3 (2024): 675–81. http://dx.doi.org/10.30853/phil20240095.

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The aim of the research is to further develop the previously proposed interpretations of “Othello” as the tragedy of a person who attempts to take the kind of place in the universe that is not rightfully theirs and they cannot handle because of their finite created nature. The research is novel in that it presents “Othello” as a tragedy of the Fall, a clash between human will and God’s providential Design; a human being attempts to place themself above the Design, and that results in destroying not the Design, which is impossible, but the human being themself. The article proposes wrath as Oth

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20

Moore, Opal. "Othello, Othello, Where Art Thou?" Lion and the Unicorn 25, no. 3 (2001): 375–90. http://dx.doi.org/10.1353/uni.2001.0035.

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21

Song, Il-sang. "The Irony of Othello’s Justice in Othello." Journal of Mirae English Language and Literature 25, no. 3 (2020): 87–104. http://dx.doi.org/10.46449/mjell.2020.08.25.3.87.

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22

Connon, Derek F., Jean-Francois Ducis, and Christopher Smith. "Othello." Modern Language Review 88, no. 4 (1993): 987. http://dx.doi.org/10.2307/3734479.

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23

Hart, Jonathan Locke. "Othello." Renaissance and Reformation 42, no. 2 (2019): 246–48. http://dx.doi.org/10.7202/1065156ar.

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24

Greenhalgh, Susanne. "Othello." Shakespeare Bulletin 39, no. 1 (2021): 147–51. http://dx.doi.org/10.1353/shb.2021.0001.

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25

Sloboda, Noel. "Othello." Shakespeare Bulletin 39, no. 1 (2021): 135–39. http://dx.doi.org/10.1353/shb.2021.0008.

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26

Ue, Tom. "Othello." Shakespeare Bulletin 39, no. 2 (2021): 286–90. http://dx.doi.org/10.1353/shb.2021.0028.

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27

Klippenstein, Chris. "Othello." Shakespeare Bulletin 39, no. 4 (2021): 700–704. http://dx.doi.org/10.1353/shb.2021.0067.

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28

Collins, Michael J., and William Shakespeare. "Othello." Theatre Journal 38, no. 2 (1986): 230. http://dx.doi.org/10.2307/3208130.

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29

Rozett, Martha Tuck, Peter Davison, Bill Overton, T. F. Wharton, and David Daniell. "Othello." Shakespeare Quarterly 42, no. 3 (1991): 368. http://dx.doi.org/10.2307/2870853.

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30

Deuflhard, Amelie. "Othello." tanz 14, Jahrbuch (2023): 124. http://dx.doi.org/10.5771/1869-7720-2023-jahrbuch-124.

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31

Crichton, Paul. "Did Othello have ‘the Othello Syndrome’?" Journal of Forensic Psychiatry 7, no. 1 (1996): 161–69. http://dx.doi.org/10.1080/09585189608409924.

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32

Moghari, Shaghayegh. "Racism, Ethnic Discrimination, and Otherness in Shakespeare’s Othello and The Merchant of Venice." International Journal of English and Comparative Literary Studies 2, no. 4 (2021): 25–41. http://dx.doi.org/10.47631/ijecls.v2i4.252.

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This study aims to present a comparative examination of the traces of racism and discrimination in two plays of Shakespeare, Othello and The Merchant of Venice, written in 1603 and around 1598, respectively in the Elizabethan Period. The attempt in this paper is to explore the construction of racism and the evidences of discrimination as depicted in Othello and the Merchant of Venice by use of the deconstruction of marriage. For this purpose, it deconstructs the marriage by focusing on Othello in Othello, and The Prince of Morocco in The Merchant of Venice; and, depicts racism and discriminati

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33

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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34

Ana María Manzanas Calvo. "The Making and Unmaking of a Colonial Subject: Othello." Miscelánea: A Journal of English and American Studies 17 (December 31, 1996): 189–206. https://doi.org/10.26754/ojs_misc/mj.199611044.

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Taking as a starting point the fact that Othello’s colour is politically and ideologically relevant in the development of the play, this article offers a reading of Othello as a tragedy of race. The article reviews key texts where the stereotype of the black man as a “pagan conjurer” of beastly living and monstrous sexuality crystallized, and traces the presence of the stereotype throughout the play. Othello’s condition as a black man—whatever shade of blackness he was—is further complicated by his condition as a colonial subject who wishes to adopt western culture. The play dramatizes the app

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35

Bassey, Alessandra. "Brown, Never Black: Othello on the Nazi Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (2020): 51–65. http://dx.doi.org/10.18778/2083-8530.22.04.

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This paper examines the ways in which Othello was represented on the Nazi stage. Included in the theatre analyses are Othello productions in Frankfurt in 1935, in Berlin in 1939 and 1944, and in pre-occupation Vienna in 1935. New archival material has been sourced from archives in the aforementioned locations, in order to give detailed insights into the representation of Othello on stage, with a special focus on the makeup that was used on the actors who were playing the titular role. The aim of these analyses is not only to establish what Othello looked like on the Nazi and pre-Nazi stage, bu

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36

Michielsen, P., L. De Jonge, S. Petrykiv, and M. Arts. "Review of Othello Syndrome and its Relationship with Neurological Disorders." European Psychiatry 41, S1 (2017): S225. http://dx.doi.org/10.1016/j.eurpsy.2017.01.2222.

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IntroductionOthello syndrome is a psychotic disorder characterized by delusion of infidelity or jealousy. It predominantly occurs in the context of specific psychiatric or neurological disorders. Othello syndrome is associated with mental changes including excessive aggression, hostility, and irritability. Patients with Othello syndrome misinterpret the behaviour of the spouse or sexual partner to provide evidence for their false perception.Objectives and aimsThe purpose of this paper is to examine the phenomenon of Othello syndrome as a result of specific neurological diseases.MethodsThe stud

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37

Merzić, Sanja. "JEALOUSY IN OTHELLO." Journal Human Research in Rehabilitation 1, no. 2 (2011): 89–91. http://dx.doi.org/10.21554/hrr.121110.

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The intent of this paper is to address the theme of jealousy in Shakespeare's tragedy Othello, the Moor of Venice (Othello) through various characters, especially focusing on characters of Othello and Iago.

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38

Buckley, Thea. "V. Sambasivan’s populist Othello for Kerala’s kathaprasangam." Indian Theatre Journal 5, no. 1 (2021): 9–27. http://dx.doi.org/10.1386/itj_00013_1.

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Through the verve and beauty of V. Sambasivan’s (1929‐97) recitals for Kerala’s kathaprasangam temple art form, performed solo onstage to harmonium accompaniment, Shakespeare’s Othello has become a lasting part of cultural memory. The veteran storyteller’s energetic Malayalam-language Othello lingers in a YouTube recording, an hour-long musical narrative that sticks faithfully to the bones of Shakespeare’s tragedy while fleshing it out with colourful colloquial songs, verse, dialogue and commentary. Sambasivan consciously indigenized Shakespeare, lending local appeal through familiar stock cha

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39

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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40

Sassi, Imed. "“My Skin Is Not Me”: The Transformations of William Shakespeare’s Othello in Ann-Marie MacDonald’s Goodnight Desdemona (Good Morning Juliet) and Djanet Sears’s Harlem Duet." Journal of Contemporary Drama in English 9, no. 2 (2021): 215–32. http://dx.doi.org/10.1515/jcde-2021-0020.

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Abstract Both Goodnight Desdemona (Good Morning Juliet) (1990) and Harlem Duet (1997) are Canadian feminist appropriations of William Shakespeare. Both deal, at least partly, with Othello, and both can be considered subversive re-visions of Shakespeare’s play which aim to articulate oppositional intervention in the canon. These similarities notwithstanding, the plays have not often been studied concurrently. Also, while several critics have explored them, mostly separately, in terms of their adaptation/appropriation of Shakespeare, seeking to spell out the transformations they have brought to

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41

Miller, Marcia A., Andreas M. Kummerow, and Tennyson Mgutshini. "Othello Syndrome." Journal of Psychosocial Nursing and Mental Health Services 48, no. 8 (2010): 20–27. http://dx.doi.org/10.3928/02793695-20100701-05.

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42

Kloppenberg, Brian. "Othello (review)." Theatre Journal 49, no. 4 (1997): 514–16. http://dx.doi.org/10.1353/tj.1997.0112.

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43

Young, Stuart. "Othello (review)." Theatre Journal 56, no. 4 (2004): 684–85. http://dx.doi.org/10.1353/tj.2004.0188.

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44

Marotta, Joseph. "Shakespeare's OTHELLO." Explicator 58, no. 2 (2000): 69–71. http://dx.doi.org/10.1080/00144940009597011.

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45

Baker, Christopher. "Shakespeare's Othello." Explicator 60, no. 2 (2002): 63. http://dx.doi.org/10.1080/00144940209597656.

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46

Cassal, Steve. "Shakespeare's Othello." Explicator 61, no. 3 (2003): 131–34. http://dx.doi.org/10.1080/00144940309597783.

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47

Doloff, Steven. "Shakespeare's Othello." Explicator 56, no. 1 (1997): 12–14. http://dx.doi.org/10.1080/00144949709595238.

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48

Morris, Timothy. "Shakespeare's Othello." Explicator 48, no. 4 (1990): 238. http://dx.doi.org/10.1080/00144940.1990.9934009.

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49

Cervo, Nathan. "Shakespeare's Othello." Explicator 53, no. 4 (1995): 189–91. http://dx.doi.org/10.1080/00144940.1995.9937277.

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Carson, Ricks. "Shakespeare’s Othello." Explicator 55, no. 4 (1997): 192–95. http://dx.doi.org/10.1080/00144940.1997.11484175.

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