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Othello, a General in the Venetian army, promotes a young officer, Michael Cassio, enraging Iago—the General's ensign—who expected the post himself. Outwardly loyal to Othello and his recently married wife, Desdemona, Iago proceeds to cause dissension within Othello's camp (for instance, tuning Othello's new father-in-law against him, and causing Cassio to fight another officer).
The critical approach to racial issues in the play changed direction with the publication in 1996 by Howard University Press of Othello: New Essays by Black Writers edited by Mythili Kaul, which made clear that black readers and audience members may be experiencing a different play from white ones. [93]
In extended discussions of Hazlitt's critical treatment of the character of Iago in Othello, [348] of Shylock in The Merchant of Venice, [349] of Caliban in The Tempest, [350] of Hamlet, [87] and, at great length, of Coriolanus, [351] he uses the contrast between Coleridge's criticism and Hazlitt's to highlight the essential originality of ...
Iago (/ i ˈ ɑː ɡ oʊ /) is a fictional character in Shakespeare's Othello (c. 1601–1604). Iago is the play's main antagonist, and Othello's standard-bearer.He is the husband of Emilia who is in turn the attendant of Othello's wife Desdemona.
The name was coined from Shakespeare's play Othello, which provides an "excellent and famous example" [1] of what can happen when fear and distress upon confrontation do not signal deception. In the play, [5] Othello falsely believes that his wife, Desdemona, has been cheating on him with another man. When confronted, she cries and denies it ...
Othello (/ ɒ ˈ θ ɛ l oʊ /, oh-THELL-oh) is the titular protagonist in Shakespeare's Othello (c. 1601–1604). The character's origin is traced to the tale "Un Capitano Moro" in Gli Hecatommithi by Giovanni Battista Giraldi Cinthio .
Year Released: 2000 Rotten Tomatoes Rating: 2 percent Number of Reviews: 60 U.S. Box Office Gross: $5.3 million Critic quote: “The In Crowd isn't a movie, it's Gorgonzola, a crumbly summertime ...
Rather than focusing on racial disparity, the film plays on a difference between Desdemona and Othello in age, size and personal attractiveness. The film noir colouring of the picture minimised any commentary on Othello's blackness, to the point that the critic F. R. Leavis wrote that the film made no reference to Othello's colour. [4]