Age old questions - is suffering due to human weakness, divine retribution or arbitrary fate?
Tragedy is the fall from "prosperity to wretchedness" - Othello is originally portrayed as a war hero but becomes a murderer.
The notion that a tragedy comes about through a misfortune - Othello chooses to listen to Iago over Desdemona which is the reason behind his downfall.
As tragedy has no answers (which human nature desires) Othello becomes more tragic.
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The Character of Othello by F.R. Leavis
Othello is over dramatic, using "self-dramatisation" - he doesn't learn from his suffering.
He acts the part - his final speech doesn't indicate any change in his character, he is still selfish and blind to his own mistakes.
Othello's suicide is described as "coup de théâtre" = French term meaning a sudden turn of events.
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Othello, Race and Society by Ania Loomba
Othello views women as either virtuous or promiscuous - he could be described as a misogynist.
Concept that you can't pick and choose prejudice. For example you can't allow sexism without racism also existing.
Context = black people "typed as godless, bestial (brutal/savage) and hideous, fit only to be saved by Christians" - in this case enslaved by Iago.
"unnatural" relationship between a "young, white, well-born woman and an older black soldier".
The 'Myth of Venice' - the State was ordered but was an open society, built by letting in foreigners.
Senate considers Othello fair as he is needed to defeat the Turks, but Brabantio cannot see past his colour, causing tension.
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Sexual/Textual Politics by Hemel Hempstead
Femininity and masculinity are artificially invented by cultural and social constructs.
Sex is a biological fact whereas gender is a social construct.
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The Pleasure of Tragedy by A.D. Nuttall
Audience enjoys tragedies, especially the disturbing aspects or pain - "enjoyed discomfort".
May not be conscious that the tragedy is the aspect the audience enjoys watching, "pleasure need not occupy the foreground of consciousness".
The way we feel is the same no matter what is pleasuring us - we still enjoy it.
To watch a play it has to please the audience. Iago's evil villain and the plays deadly murders is what pleases the audience due to the shocking nature of them.
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The Shakespearean Tragic Hero by A.C. Bradley
"No play at the end of which the hero remains alive is... a tragedy".
Peripeteia = reversal of fortune eg. Othello being manipulated by Iago.
Harmartia = fatal flaw, eg. Othello's jealousy which leads to his demise.
At the beginning of the play he is part of the Council Chamber of the Senate, but by the end he pleads not to be misjudged by the world.
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Othello: The Portrayal of Iago by E.A.J. Honigmann
Evil yet witty, his humour is wicked however we are drawn to his character because he is more complex and interesting, therefore more entertaining to the audience.
Described as "liar, betrayer, mental torturer of Othello and Desdemona, murderer" but it can be argued that he is calculating and smart due to his success in manipulating the characters.
Throughout plays our reactions to a character fluctuate, and may even "come close to sympathising with a villain".
As the other characters lack humour Iago appeals to us and his perspective "compels us to see with his eyes and share his 'jokes'".
Honigmann explains that Iago only excels in short term tactics, and discounts Emilia, refusing to believe that she could lead to his downfall - Iago is the most complex and intelligent character but isn't emotionally intelligent.
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Tragedy and Madness by Maynard Mack
Tragic heroes suffer madness or are associated with it, sometimes madness is used as a punishment eg. Othello once he murders Desdemona.
Although, Othello is still aware that he killed Desdemona so is therefore not mad - his punishment is that he remains sane and has to live with his mistake.
Mack mentions Elizabthan psychological lore held that "the excess of any passion approached madness", for example Othello's love for Desdemona.
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