Race and Otherness Flashcards
“i am not what i am”
(AO1): Iago’s duplicity includes exploiting Othello’s racial vulnerability, showing how race is weaponised in his manipulation.
(AO2): The paradoxical statement hints at Iago’s deceitful nature, which he uses to manipulate societal prejudices about Othello’s race.
(AO3): Highlights how racial otherness is manipulated by those in power to maintain dominance, reflecting Venice’s underlying xenophobia.
(AO4): Similar to A Passage to India by E.M. Forster, where colonial characters exploit cultural misunderstandings.
(AO5): Critics like Bradley see Iago as a reflection of societal prejudice, while Marxist interpretations suggest he represents structures of oppression that exploit racial difference for personal gain.
“She loved me for the dangers i had passed, and i loved her that she did pity them.”
(AO1):Othello’s relationship with Desdemona is built on admiration and storytelling, but it also reflects his need to prove himself worthy in a society that views him as an outsider.
(AO2): The repetition of “loved” suggests mutual admiration, but “pity” implies a power imbalance, as Desdemona’s affection stems partly from seeing Othello as exotic and different.
(AO3): Demonstrates the fetishisation of the ‘exotic other’ in Renaissance literature, where blackness was often romanticised but not fully accepted.
(AO4): Similar to Wide Sargasso Sea by Jean Rhys , which explores radial and cultural tensions in a colonial marriage.
(AO5): Post-colonial critics argue Othello’s reliance on Desdemona’s validation shows the destructive impact of internalised racism and colonial attitudes.
“An old black ram is tupping your white ewe”
(AO1): The crude metaphor highlights Iago’s racial hostility and aims to provoke Brabantio.
(AO2): Use of animalistic imagery dehumanises Othello, emphasising the perceived threat of his racial difference, The contrast between “black” and “white” reinforces binary oppositions in racial discourse.
(AO3): Reflects early modern attitudes towards race and miscegenation:; Othello’s outsider status in evident in the Venetian context.
(AO5): Post-colonial critics might argue that this reflects European figures, while feminist readings could focus on the patriarchal control of Desdemona’s sexuality.
“Haply, for i am black, And have not those soft parts of conversation that chambers that chamberers have”
(AO1): Othello’s self-doubt highlights his internalisation of societal prejudices.
(AO2): The use of “haply” (perhaps) shows Othello’s insecurities, while “soft parts of conversation” suggests his alienation from Venetian norms of behaviour and language.
(AO3): Suggests how Othello, as a Moor in a European society, has internalised the racialised stereotypes imposed upon him.
(AO4): Comparable to themes of internalised oppression in texts exploring colonialism, such as Achebe’s Things Fall Apart.
(AO5): Critics like F.R. Leavis have suggested Othello’s downfall stems from his character, while others like Ania Loomba argue that is it reflects systemic racial snd cultural pressures.
“O cursed, cursed slave Whip me, ye devils, From the possession of this heavenly sight!”
(AO1): Othello’s despair reflects his tragic recognition of how he has been manipulated.
(AO2): The juxtaposition of “slave” and “heavenly sight” highlights the tension between Othello’s perceived self-worth and his internalised sense of otherness. The imperative verbs “whip me” reflect his self-punishment.
(AO3): Othello’s demise can be read as the result of his racialised outsider status and the societal rejection of his integration into Venetian nobility.
(AO4): Links to classical tragic heroes like Oedipus, whose downfall is similarly led to identity and societal expectations.
(AO5): A psychoanalytic reading might interpret Othello’s self-loathing as a symptom of internalised racism, while historicist critics would focus on Shakespeare’s exploration of race and empire.
“For she had eyes and chose me”
(AO1): Othello justifies Desdemona’s love, asserting his worth despite societal prejudices.
(AO2): The declarative sentence and personal pronoun “me” emphasise his need for affirmation. “Eyes” suggests Desdemona’s rational choice, contrasting Iago’s depiction of Othello as inherently unworthy.
(AO3): Refoects Othello’s struggle to reconcile his race with his position in Venetian society pl His isolation stems not only from, others’ prejuidce but also from his reliance on Desdemona’s acceptance for validation.
(AO4): Parallels other literary works exploring love transcending racial and cultural boundaries, such as Romeo and Juliet’s exploration of forbidden love.
(AO5): Post-colonial critics might argue Othello is reduced to seeking approval in a society that ultimately rejects him, while psychoanalytic readings may highlight his fragile self-image.
“You son-in-law is far more far than black”
(AO1): The Duke offers a conditional endorsement of Othello by countering stereotypes of racial inferiority.
(AO2): The comparative structure “more fair than black”) paradoxically reinforces racial prejudices, as Othello’s virtue is defined against his race.
(AO3): Reflects how early modern Europe constructed blackness as a symbol of moral and physical corruption, aligning with broader discourses of colonialism.
(AO4): Connects to other Shakespearean works, such as Aaron in Titus Andronicus, who is demonised for his race and deeds.
(AO5): A post-colonial perspective might argue this line reveals the superficial acceptance of racial others contingent on their adherence to white cultural norms.
“What full fortune does the thick-lips owe, if he can carry’t thus?”
(AO1): Roderigo’s racial epithet reflects overt racism, undermining Othello’s position through physical ridicule.
(AO2): The synecdoche “thick-lips” reduces Othello to a racialised physical trait, denying his individuality and humanity.
(AO3): Exemplifies how racial slurs perpetuated othering and exclusion in Venetian society.
(AO4): This echoes depictions of racial caricatures in early modern drama, such as Barabas in Marlowe’s The Jew of Malta.
(AO5): Critical race theory might interpret this as evidence of systemic racism, where language enforces hierarchies of power.
“O, the more angel she, and you the blacker devil!”
(AO1): Emilia contrasts Desdemona’s purity with Othello’s racialised and moralised darkness.
(AO2): The metaphor of “angel” and “devil” invokes religious imagery, intertwining race with morality and gender p. The juxtaposition emphasises Othello’s fall from grace.
(AO3): Reflects contemporary associations between blackness and evil, perpetuated through colonial and religious narratives.
(AO4): Comparable to stereotypes in Gothic literature, where dark-skinned figures often symbolise danger or corruption.
(AO5): Feminist critics might explore how Emilia’s critique highlights the gendered dynamics of purity and corruption, while post-colonial readings would focus on the racialised language used to vilify Othello.
