The Making and Unmaking of a Colonial Subject: Othello

Taking as a starting point the fact that Othello’s colour is politically and ideologically relevant in the development of the play, this article offers a reading of Othello as a tragedy of race. The article reviews key texts where the stereotype of the black man as a “pagan conjurer” of beastly liv...

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Main Author: Ana María Manzanas Calvo
Format: Article
Language:English
Published: Universidad de Zaragoza 1996-12-01
Series:Miscelánea: A Journal of English and American Studies
Online Access:https://papiro.unizar.es/ojs/index.php/misc/article/view/11044
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author Ana María Manzanas Calvo
author_facet Ana María Manzanas Calvo
author_sort Ana María Manzanas Calvo
collection DOAJ
description Taking as a starting point the fact that Othello’s colour is politically and ideologically relevant in the development of the play, this article offers a reading of Othello as a tragedy of race. The article reviews key texts where the stereotype of the black man as a “pagan conjurer” of beastly living and monstrous sexuality crystallized, and traces the presence of the stereotype throughout the play. Othello’s condition as a black man—whatever shade of blackness he was—is further complicated by his condition as a colonial subject who wishes to adopt western culture. The play dramatizes the apparently unlimited possibilities of self-fashioning available to man in the Renaissance, only to deconstruct this optimistic self-fashioning or self-creation when race issues come into play. It is Iago’s exploitation of the politics of colour and of Othello’s double nature (proper to a colonial subject) that brings about Othello’s downfall.
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publisher Universidad de Zaragoza
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series Miscelánea: A Journal of English and American Studies
spelling doaj-art-c8e2f0869a094c20bb3adcb1d320b0522024-12-16T18:03:35ZengUniversidad de ZaragozaMiscelánea: A Journal of English and American Studies1137-63682386-48341996-12-011710.26754/ojs_misc/mj.199611044The Making and Unmaking of a Colonial Subject: OthelloAna María Manzanas Calvo0Universidad de Salamanca Taking as a starting point the fact that Othello’s colour is politically and ideologically relevant in the development of the play, this article offers a reading of Othello as a tragedy of race. The article reviews key texts where the stereotype of the black man as a “pagan conjurer” of beastly living and monstrous sexuality crystallized, and traces the presence of the stereotype throughout the play. Othello’s condition as a black man—whatever shade of blackness he was—is further complicated by his condition as a colonial subject who wishes to adopt western culture. The play dramatizes the apparently unlimited possibilities of self-fashioning available to man in the Renaissance, only to deconstruct this optimistic self-fashioning or self-creation when race issues come into play. It is Iago’s exploitation of the politics of colour and of Othello’s double nature (proper to a colonial subject) that brings about Othello’s downfall. https://papiro.unizar.es/ojs/index.php/misc/article/view/11044
spellingShingle Ana María Manzanas Calvo
The Making and Unmaking of a Colonial Subject: Othello
Miscelánea: A Journal of English and American Studies
title The Making and Unmaking of a Colonial Subject: Othello
title_full The Making and Unmaking of a Colonial Subject: Othello
title_fullStr The Making and Unmaking of a Colonial Subject: Othello
title_full_unstemmed The Making and Unmaking of a Colonial Subject: Othello
title_short The Making and Unmaking of a Colonial Subject: Othello
title_sort making and unmaking of a colonial subject othello
url https://papiro.unizar.es/ojs/index.php/misc/article/view/11044
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