Major Themes Appearance vs. reality This issue is especially relevant to Iago. Although he is called "honest" by almost everyone in the play, he is treacherous, deceitful, and manipulative. Also applies to Desdemona, as Othello believes that she is deceitful and impure, although she is really blameless and innocent. Race Race is an extremely important theme; it has a great amount of influence on how people regard Othello‹for those who distrust black people merely on looks never like Othello, like Iago. Race also determines how Othello perceives himself as a rough outsider, though he is nothing of the sort.
Shakespeare’s use of black imagery appears quite often to describe Othello’s true character, including Emilia calling him “the blacker devil”. Whether it is a coincidence that Othello is a Moor, or a purpose for creating dramatic meaning, the colour black is representative of Othello’s
Shakespeare’s Challenge of “Black” in Othello During the seventeenth century, in England, dark-skinned Africans became affiliated with negative connotations associated with the word “black” due to the ideologies the English assigned to dark skin. In Shakespeare’s Othello he does not stray from the negativity associated with the word “black.” Throughout the play, Othello is deemed “a moor,” defined in terms of this seventeenth century racial slur, and any time the word “black” is mentioned it is in association with something evil or, dirty, and invoked in opposition to qualities that are deemed fair or pure. This contrast establishes the idea that anything dark carries these negative qualities, but more importantly dark-skinned people in general maligned as evil. Throughout Othello, Shakespeare continuously reinforces the idea of Othello being “the other, ” ultimately justifying characters’ many abusive and cruel descriptions of him. The stereotypical and overzealous descriptions of Othello create a vivid picture of how Africans were regarded in the seventeenth century.
Double consciousness forces blacks to not only view themselves from their own unique perspective, but to also view themselves as they might be perceived by the outside world. Du Bois spoke of this when he talked about “the sense of looking at one’s self through the eyes of others”. As a result, blacks can suffer from a damaged self-image shaped by the perceptions and treatment of white people. Black life in turn can easily become shaped by stereotypes perpetuated by mainstream culture. According to Du Bois the prejudices of white people elicit “self-questioning, self-criticism, and lowering of ideals” among black people.
Though it can be said that there were peoples from Africans, Arabians and Jewish communities living within Britain these people were often persecuted and treated as second class citizens or even as slaves. Because of this and considering the audience of the time for which this play was written, it can be seen that the choice of Othello who is a Moor is unusual. The question often asked of Othello is that whether he is to be considered to be Black or as an Arab, at the time according to E. A. J Honigmann a Moor meant to Elizabethan people to be a black person or negro. This is also evident in Iago’s lines in which he describes Othello as “an Old black Ram” indicating Othello as a person of African descent. Additionally Roderigo’s description as “the thicklips” provides us with further evidence of Othello’s ethnicity.
Both Williams’ use of black stereotypes and participation in the “blackface” type of acting were considered negative and racist ways of portraying black people during this time period. He charmed his way past barriers that blacks had not been able to overcome, with a smile and comical attitude. Williams opened the door for black actors of his generation as well as for generations to come, in the film and stage industry. During this time, blacks were portrayed as “coons”, a stereotypical depiction what a “negro” was at this time: lazy, dishonest, and corrupt. “Blackface” actors represented the blacks as whites wanted to see them.
The term “moor” was derived from the name of the country Mauritania but was used to refer to North Africans, West Africans or, even more loosely, for non-whites or Muslims of any origin. North and West Africans living in Elizabethan England were frequently singled out for their unusual dress, behaviour and customs and were commonly referred to as “devils” or “villains.” Moors were commonly stereotyped as sexually overactive, prone to jealousy and generally wicked. The public associated “blackness” with moral corruption, citing examples from Christian theology to support the view that whiteness was the sign of purity, just as blackness indicated sin. Shakespeare’s Othello can be traced to Leo Africanus’ autobiographical travel journals The History and Description of Africa (1526) Othello first appeared on the English stage in 1604, during a complex period in Barbary/English relations. Queen Elizebeth had previously had previously issued edicts, in 1599 and 1601, decrying “the great number of Negars and Blackmoors that have crept into this realm” Some scholars have speculated that Shakespeare wrote Othello to please James I, who had a keen interest in the history of the Turks and their defeat by the Christians in the Battle of Lepantoin 1571.
Madonna: Plantation Mistress or Soul Sister? bell hooks From 'Black Looks: Race and Representation' Subversion is contextual, historical, and above all social. No matter how exciting the "destabitizing" potential of texts, bodily or otherwise, whether those texts are subversive or recuperative or both or neither cannot be determined by abstraction from actual social practice. --Susan Bordo White women "stars" like Madonna, Sandra Bernhard, and many others publicly name their interest in, and appropriation of, black culture as yet another sign of their radical chic. Intimacy with that "nasty" blackness good white girls stay away from is what they seek.
The way Iago and Brabantio see him as a witch or a beast. He lives up to the reputation that he has created for himself. Othello see himself as a rough outsider, even though he’s not. Othello's race sets him apart, and makes him very self-conscious. He worked hard to gain his reputation, so he could be regarded as equal to the white people that surround him.
Sargent Shriver once stated,” The roots of racism lie deep in man’s nature, wounded and bruised by original sin.” So if racism is deeply embedded into “men”, wouldn’t women have the power to undo this sin? In How to Kill a Mockingbird, Calpernia Tate and Lola are two feminine representatives contributing to black rights. Lula’s sense of loyalty is admirable although futile due to her abhorrent tone, enraging white society more than impressing them. While, Calpurnia’s rational approach emphasizes the equity between the white and black races. Showcasing intelligence, manners, and loyalty: Calpernia portrays the perfect black representative, revealing the humanity Negros.