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Journal articles on the topic 'Othello'

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

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1

Kowalcze-Pawlik, Anna. "The Moor’s Political Colour: Race and Othello in Poland." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (December 30, 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 of each of these stage adaptations, as both of them employ brownface and blackface to visualise Othello’s “political colour.” The function of blackface and brownface is radically different in these two productions: in the 1981/1984 Othello brownface works to underline Othello’s overall sense of alienation, while strengthening the existing stereotypes surrounding black as a skin colour, while the 2011 staging makes the use of blackface as an artificial trick of the actor’s trade, potentially unmasking the constructedness of racial prejudices, while confronting the audience with their own pernicious racial stereotypes.

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2

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 (February 29, 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, Othello kills his wife, and he also kills himself after realizing the truth. The flaws of Othello are identified through plot, character, thought/theme, diction, rhythm, and spectacle.

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3

Setyaningrum, Rizky. "OTHELLO’S VERBAL DEFENCE: DISTORTING REALITY IN SHAKESPEARE’S OTHELLO." IJOLTL: Indonesian Journal of Language Teaching and Linguistics 3, no. 2 (May 30, 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, and rationalization are experienced by Othello. They operate unconsciously and these mechanisms neutralize the upsetting impact of threatening ideas by distorting reality. In distorting reality, ego takes some extreme ways. One of those ways is “talking away” the anxiety stimuli as well as by the other means of obscuring and retreating from reality.

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4

Maharani, Puja, and Tomi Arianto. "ANXIETY THAT CONVEYING TRAGEDY IN OTHELLO DRAMA BY SHAKESPEARE." JURNAL BASIS 9, no. 2 (October 22, 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 power and the Othello family. With these problems, the researchers explored the anxiety factor by using Maslow's psychological theory about the hierarchy of needs, especially at the level of safety needs. This research used qualitative descriptive method because the data collection technique used is to describe the analysis through words and sentences that exist in the data source. The approach used in this research was psychological approach in a literary work. The results found from this research that there is an anxiety factor that underlie Othello's feeling that he is always threatened. Jealousy is a factor that causes anxiety in the character "Othello" which focused on household relationships. This excessive anxiety then causes impacts in the form of misunderstanding, the death of Othello's wife, and Othello's suicide.

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5

Sniderman, Alisa Zhulina. "In the Dark: Sex, Lies, and Fake News in Sam Gold’s Othello." TDR/The Drama Review 61, no. 4 (December 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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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 (July 6, 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 adventurous travels. Unlike Othello’s fabled and mythical travels and adventures, Mahjoub renders Rashid al-Kenzy’s as realistic and true to life in a way that highlights his vulnerability. In addition, the ill-fated marriage between Othello and Desdemona is adapted in Mahjoub’s novel in the form of a Platonic love that is founded on a scientific dialogue between Rashid al-Kenzy and Sigrid Heinesen, a poet and philosopher woman from Jutland. In this way, Desdemona’s claim that she sees Othello’s visage in his mind, a claim that is strongly undermined by Othello’s irrationality, jealousy and belief in superstitions during the course of the play, is emphasized and foregrounded in Mahjoub’s novel.

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7

Stein, Mark. "The Othello Conundrum: The Inner Contagion of Leadership." Organization Studies 26, no. 9 (September 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, Iago fills Othello’s mind with powerful feelings of jealousy and envy, especially about an alleged relationship between Othello’s wife and his lieutenant, Cassio. Othello’s conundrum thus concerns whether he should tolerate these feelings and live with his uncertainty about his wife’s purported infidelity, or, alternatively, try to rid himself of these feelings by killing her and Cassio. Concepts from psychoanalysis and a variety of other traditions are drawn on. Following this, there is an exploration of a contemporary reference, that of the demise of the Gucci family dynasty. The paper ends with an examination of the implications and a conclusion.

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8

Johanyak. "Shifting Religious Identities and Sharia in Othello." Religions 10, no. 10 (October 20, 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 for honor. The advance of the Ottoman Empire into Europe with the threat of conquest and forced conversion to Islam was a source of fascination and fear to Elizabethan audiences. Yet, as knowledge increased, so did tolerance to a certain degree. But the defining line between Christian and Muslim remained a firm one that could not be breached without risking the loss of personal identity and spiritual sanctity. Denizens of the Middle East and followers of the Islamic faith, as well as travel encounters between eastern and western cultures, influenced Shakespeare’s treatment of this theme. His play Othello is possibly the only drama of this time period to feature a Moor protagonist who wavers between Christian and Muslim beliefs. To better understand the impetus for Othello’s murder of his wife, the influence of Islamic culture is considered, and in particular, the system of Sharia that governs social, political, and religious conventions of Muslim life, as well as Othello’s conflicting loyalties between Islam as the religion of his youth, and Christianity, the faith to which he had been converted. From Act I celebrating his marriage through Act V recording his death, Othello is overshadowed by fears of who he really is—uncertainty bred of his conversion to Christian faith and his potential to revert to Islamic duty. Without indicating Sharia directly, Shakespeare hints at its subtle influence as Othello struggles between two faiths and two theologies. In killing Desdemona and orchestrating Michael Cassio’s death in response to their alleged adultery, Othello obeys the Old Testament injunction for personal sanctification. But in reverting to Muslim beliefs, he attempts to follow potential Sharia influence to reclaim personal and societal honor.

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9

Trivedi, Poonam. "In and out of Othello." Indian Theatre Journal 5, no. 1 (August 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 directly within the public sphere of the politics of the state through its singular focus on Othello as an ‘outsider’ figure paralleled by other such figures of contemporary Assamese society. It will contextualize the discussion of this film, its production and positioning within the film industry of Assam and attempt to define the nature of its adaptation. It will also glance at its similarities with the earlier film In Othello (2003), which too connected Shakespeare and Assam to illustrate the volatile configurations of the outsider/insider status in contemporary India.

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10

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 knows (Africa and Venice) through storytelling. Indeed, his narrative proves a transborder testimony that contributes to creating a debate forum where cultural hybridity is celebrated.um where cultural hybridity is celebrated.

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11

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 (November 18, 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 global community. “Postcolonial theory deals with the reading and writing of literature written in previously or currently colonized countries; a literature written in colonizing countries which deals with colonization or colonized peoples. It focuses particularly on: the way in which literature by the colonizing culture distorts the experience and realities, and inscribes the inferiority, of the colonized people and on literature by colonized peoples which attempts to articulate their identity and reclaim their past in the face of inevitable Otherness”. (www.shs.westport.k12.ct.us). This paper will be analyzing the text of the play Othello; The Moor of Venice by Shakespeare in terms of the representation of Otherness through the lens of postcolonialism. The love story between Desdemona and Othello was doomed due to the inflexibility of racial politics, the psychology of bodily humours, magic, or the incompatibility of military and private life. Throughout the play, there is the subtle suggestion that Othello, despite his high status, is considered dangerous by his European contemporaries. Brabantio is scandalized when he learns of Othello's relationship with Desdemona, and this revelation almost leads to Othello's arrest and accusations that Othello has kidnapped or stolen his future wife. It's as if the citizens of Venice can't imagine a white woman would have a consensual relationship with a black man, or as if Othello's race poses a threat to the European familial order. Othello continuously subverts this perception, comporting himself with dignity despite European mistrust.

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12

Salim, Taha Khalaf. "Shakespeare’s Othello: the Open Nature of the Hero and its Devastative Upshot." JOURNAL OF LANGUAGE STUDIES 1, no. 4 (August 13, 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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13

Jayakumar, Archana. "Anti-Othellos and postcolonial Others in Izzat and Aastha." Indian Theatre Journal 5, no. 1 (August 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. However, although men of ‘low’, mixed or ambiguous origins do not kill their wives in these two adaptations, both films still depict the marginalization of caste, class and gender Others. This article will study the tension between these on-screen Others and the anti-Othello stance.

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14

Khomenko, Natalia. "From Social Justice to Metaphor: The Whitening of Othello in the Russian Imagination." Multicultural Shakespeare: Translation, Appropriation and Performance 23, no. 38 (June 30, 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 traces the interpretations and metatheatrical uses of this character from the early Soviet period to the present day. I argue that the Soviet tradition of staging Othello in blackface effectively prevented the use of the play for exploring the racial tensions within the Soviet Union itself, and gradually transformed the protagonist’s blackness into a generalized metaphor of oppression. As post-collapse Russia embraced whiteness as a category, Othello’s blackness became a prop that was entirely decoupled from race and made available for appropriation by ethnically Slavic actors and characters. The case of Russia demonstrates that staging Othello in blackface, even when the initial stated goals are those of racial equality, can serve a cultural fantasy of blackness as a versatile and disposable mask placed over a white face.

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15

Kovalevskaya, Tatyana Vyacheslavovna. "Othello and his “tragic flaw”." Philology. Issues of Theory and Practice 17, no. 3 (March 1, 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 Othello’s tragic flaw; wrath is a cardinal sin and at the same time the state that can be common to both God and human beings, the state that leads a person to judge their neighbor and to act as jury, judge, and executioner. Our findings show that “Othello” is part of what we called Shakespeare’s overarching plot and is closely tied with the problematics of other tragedies, particularly “Hamlet” and “Romeo and Juliet”. Consequently, “Othello” emerges as part of Shakespeare’s “overarching plot” that tells stories of the Bard’s characters seeking self-deification, that is, seeking to impose their will on the universe and ultimately to overcome their created human nature.

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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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Song, Il-sang. "The Irony of Othello’s Justice in Othello." Journal of Mirae English Language and Literature 25, no. 3 (August 31, 2020): 87–104. http://dx.doi.org/10.46449/mjell.2020.08.25.3.87.

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18

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

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19

Hart, Jonathan Locke. "Othello." Renaissance and Reformation 42, no. 2 (October 24, 2019): 246–48. http://dx.doi.org/10.7202/1065156ar.

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

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

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

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

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

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

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

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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 (July 20, 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 discrimination by comparing the characterizations of Othello in Othello and Shylock in The Merchant of Venice. Both sections critique the cruel issues these people experienced as other. The notion of ‘otherness’ and its application in the characterizations of Othello and Shylock, Othello vs. Shylock, the application of deconstruction of marriage to Othello and The Prince of Morocco, and racism in Othello and The Merchant of Venice are among the major items on which this article elaborates following by a conclusion describing the role of human conscience in racial and religious discrimination.

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Rai, Ram Prasad. "Jealousy and Destruction in William Shakespear's Othello." Crossing the Border: International Journal of Interdisciplinary Studies 4, no. 1 (October 17, 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 makes Desdemona’s handkerchief, a marriage gift from Othello, reach in Cassio through Emilia. Then he notices Othello about the Apresence of the handkerchief in Cassio as an accusation of Desdemona’s falling in love with Cassio. In reality, both Cassio and Desdemona are innocent. They are honest and loyal to their moral position. But because of jealousy grown in Othello by Iago, Othello plans to murder his kind and truly loving wife and his dutiful junior officer Cassio. Othello kills Desdemona and Iago kills his wife Emilia as she discloses the reality about Iago’s evilness. Othello kills himself after he knows about Iago’s treachery. As a result, all the happiness, peace and love in the families of Othello and Iago get spoilt completely because of just jealousy upon each other. Crossing the Border: International Journal of Interdisciplinary Studies Vol.4(1) 2016: 53-58

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Buckley, Thea. "V. Sambasivan’s populist Othello for Kerala’s kathaprasangam." Indian Theatre Journal 5, no. 1 (August 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 characters and poetic metaphor. Othello’s ‘moonless night’ or ‘amavasi’ is made bright by Desdemona’s ‘full moon’ or ‘purnima’; Cassio’s lover Bianca is renamed Vasavadatta, after poet Kumaran Asan’s lovelorn courtesan-heroine. Crucially, Sambasivan’s populist introduction of Othello through kathaprasangam marks a progressive phase where Marxism, rather than colonialism, facilitated India’s assimilation of Shakespeare. As part of Kerala’s communist anti-caste movement and mass literacy drive, Sambasivan used the devotional art form to adapt secular world classics into Malayalam, presenting these before thousands of people at venues both sacred and secular. In this article, I interview his son Professor Vasanthakumar Sambasivan, who carries on the family kathaprasangam tradition, as he recalls how his father’s adaptation represents both an artistic and sociopolitical intervention, via Shakespeare.

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Bassey, Alessandra. "Brown, Never Black: Othello on the Nazi Stage." Multicultural Shakespeare: Translation, Appropriation and Performance 22, no. 37 (December 30, 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, but also to examine the Nazis’ relationship with Shakespeare’s Othello within the wider context of their relationship with the Black people who lived in Nazi Germany at the time. In addition, the following pages offer insights into pre-Nazi, Weimar productions of Othello in order to create a more complex and comparative understanding of Nazi Othello productions and the wider theatrical context within which they were produced. In the end, we find out, based on existing evidence, why Othello was brown, and never Black.

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Michielsen, P., L. De Jonge, S. Petrykiv, and M. Arts. "Review of Othello Syndrome and its Relationship with Neurological Disorders." European Psychiatry 41, S1 (April 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 study design was a retrospective case series of patients with Othello syndrome. We searched the electronic databases PubMed and Embase for review articles and original research using the search terms ‘Othello syndrome, Morbid Jealousy, Pathological Jealousy, Delusional Jealousy, Delusions and Infidelity, Delusions of Jealousy or Infidelity’.ResultsIn the present study of 95 case reports, the relationship between Othello syndrome and a neurological pathology was described. This syndrome was most commonly associated with neurodegenerative diseases (59%), followed by medication induced Othello syndrome (13.7%) and vascular dementia (8.4%). Lesions particularly in the right (dorsolateral) frontal lobes were associated with this syndrome.ConclusionThis study demonstrates that Othello syndrome occurs most frequently in patients with right frontal lobe dysfunction. It is predominantly related with Lewy Body Disease and Alzheimer's disease. Clinicians should keep an “index of suspicion” regarding dementia when Othello syndrome presents in elderly persons.Disclosure of interestThe authors have not supplied their declaration of competing interest.

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Merzić, Sanja. "JEALOUSY IN OTHELLO." Journal Human Research in Rehabilitation 1, no. 2 (December 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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KAYADUMAN, Büşra. "PORTRAIT OF OTHELLO AS AN EASTERN MAN." Siirt Üniversitesi Sosyal Bilimler Enstitüsü Dergisi 10, no. 1 (June 30, 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 according western people’s views in the 16th century since the black man was seen as evil at that time. Besides, the Oriental character who was from the eastern part of the world was seen as illogical and immoral. Thus, Othello both as a black man and an oriental man might be seen as evil and illogical man in the eye of Shakespeare, too. That’s why Shakespeare might have thought that Othello may be a successful and strong man, but, as an oriental man, he has an evil side which is be revealed in time with the help of Iago.

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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 (October 23, 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 the “original” text, little has been said about how the iconic figure of Shakespeare still holds sway in these new dramas, albeit in different ways and to varying degrees. Likewise, their dramatization of the character of Othello remains rather understudied. This essay explores the “new” Othellos of the two plays, contending that their positioning in the two texts evinces some similarities while their characterization differs widely, given the plays’ generic difference, but mostly the two playwrights’ rather divergent feminist perspectives which, in turn, substantially shape the plays’ respective appropriation techniques.

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Miller, Marcia A., Andreas M. Kummerow, and Tennyson Mgutshini. "Othello Syndrome." Journal of Psychosocial Nursing and Mental Health Services 48, no. 8 (July 22, 2010): 20–27. http://dx.doi.org/10.3928/02793695-20100701-05.

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

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

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

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

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

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Cervo, Nathan. "Shakespeare's Othello." Explicator 53, no. 4 (July 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 (July 1997): 192–95. http://dx.doi.org/10.1080/00144940.1997.11484175.

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Miola, Robert S. "Othello Furens." Shakespeare Quarterly 41, no. 1 (1990): 49. http://dx.doi.org/10.2307/2870801.

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Phillips, S. J. "Review: Othello." Notes and Queries 51, no. 2 (June 1, 2004): 198–200. http://dx.doi.org/10.1093/nq/51.2.198.

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Phillips, Stephen J. "Review: Othello." Notes and Queries 51, no. 2 (June 1, 2004): 198–200. http://dx.doi.org/10.1093/nq/510198.

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Lipstein, Freddi. "Othello (review)." Shakespeare Bulletin 24, no. 2 (2006): 78–81. http://dx.doi.org/10.1353/shb.2006.0032.

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Jobe, Alaina E. "Othello (review)." Shakespeare Bulletin 25, no. 2 (2007): 88–90. http://dx.doi.org/10.1353/shb.2007.0028.

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