Otherness
Otherness is a major theme in Othello illustrated though colloquial racism,
animalistic imagery and characterisation.
animalistic imagery and characterisation.
Characterisation
Othello is characterised as a stereotypical black African living in 16th
century Venetia as a cultural and racial outsider. Although he is an outsider
his actions and skills as a leader make him ‘more fail then black’. He strives
to assimilate into Venetian society by converting to Christianity and speaking
English however his ‘exterior darkness’ and ‘timorous accent’ prevent him from
fully integrating causing him to always be an outcast to Elizabethan venetian.
Othello is characterised as a stereotypical black African living in 16th
century Venetia as a cultural and racial outsider. Although he is an outsider
his actions and skills as a leader make him ‘more fail then black’. He strives
to assimilate into Venetian society by converting to Christianity and speaking
English however his ‘exterior darkness’ and ‘timorous accent’ prevent him from
fully integrating causing him to always be an outcast to Elizabethan venetian.
Colloquial Racism
Shakespeare skilfully uses colloquial racism against Othello to convey his otherness. Despite being a noble and respected character, Othello is clearly foreign to the Venetians as he is of North African descent.
He is referred to as a moor, a Muslim of mixed Arab and Berber descent, establishing his otherness in the white Venetian society. The racist and colloquial terms ‘thick-lips’, ‘blacker devil’ and the constant referral to the label ‘moor’ depreciates Othello’s humanity and emphasises his otherness. The effect of colloquial racism is also demonstrated by his eagerness and insecurity about his own ethnic and cultural identity in white Venice; Othello aspires to be white however, he is restricted because of the blackness of his exterior.
Shakespeare skilfully uses colloquial racism against Othello to convey his otherness. Despite being a noble and respected character, Othello is clearly foreign to the Venetians as he is of North African descent.
He is referred to as a moor, a Muslim of mixed Arab and Berber descent, establishing his otherness in the white Venetian society. The racist and colloquial terms ‘thick-lips’, ‘blacker devil’ and the constant referral to the label ‘moor’ depreciates Othello’s humanity and emphasises his otherness. The effect of colloquial racism is also demonstrated by his eagerness and insecurity about his own ethnic and cultural identity in white Venice; Othello aspires to be white however, he is restricted because of the blackness of his exterior.
Animalistic Imagery:
Vulgar animalistic imagery is strikingly used to convey Othello’s otherness. In 16th century Venetia, black humanity was equivalent to animals and the colour of their skin colour was believed to be derived from hell. Othello is described as a “Barbary horse”, an animal incapable of virtuous human qualities. The connotation of the words 'Barbary' and 'horse' implies Othello is a brutal and domineering person accentuating on the assumption that black men are violent and unnatural beings in Elizabethan society. The intercourse between Othello, the black other, and Desdemona, ‘the divinity of heaven’ is considered abnormal and is likened to ‘a black ram tupping a white ewe’. The further use of animal imagery of Othello as the black ram associates him as an over sexualised being with impure animalistic qualities, in contrast, Desdemona is compared to a white ewe, an innocent, pure and helpless creature that is being ‘tupped’ by the ram. The word tupping imparts filthy and unnatural connotations and implies that the black ram has overtaken the dignity and control of the white ewe.
Vulgar animalistic imagery is strikingly used to convey Othello’s otherness. In 16th century Venetia, black humanity was equivalent to animals and the colour of their skin colour was believed to be derived from hell. Othello is described as a “Barbary horse”, an animal incapable of virtuous human qualities. The connotation of the words 'Barbary' and 'horse' implies Othello is a brutal and domineering person accentuating on the assumption that black men are violent and unnatural beings in Elizabethan society. The intercourse between Othello, the black other, and Desdemona, ‘the divinity of heaven’ is considered abnormal and is likened to ‘a black ram tupping a white ewe’. The further use of animal imagery of Othello as the black ram associates him as an over sexualised being with impure animalistic qualities, in contrast, Desdemona is compared to a white ewe, an innocent, pure and helpless creature that is being ‘tupped’ by the ram. The word tupping imparts filthy and unnatural connotations and implies that the black ram has overtaken the dignity and control of the white ewe.
Similarly O explores the otherness of Othello through the film techniques of symbolism, racism and music.
Symbolism
The visual symbolism of pure white
doves cooing and huddling together places an emphasis that the school is predominantly white, however this is replaced with a scene of an individual caged black hawk and immediately cuts to a shot of Odin highlighting that he doesn’t belong, he is an other. The hawk is symbolic of Odin, their actions and skills are strong and desirable, yet the black hawk is caged and is seen as an outcast by the pure doves.
The visual symbolism of pure white
doves cooing and huddling together places an emphasis that the school is predominantly white, however this is replaced with a scene of an individual caged black hawk and immediately cuts to a shot of Odin highlighting that he doesn’t belong, he is an other. The hawk is symbolic of Odin, their actions and skills are strong and desirable, yet the black hawk is caged and is seen as an outcast by the pure doves.
Racism
Odin's otherness is conveyed through racism. Similar to Moor, the derogative term ‘nigger’ is used to depreciate Odin’s humanity and ego as it has negative and racist connotations. As Desi and Odin discuss the ramification of the term, Desi outlines ‘[Her] people invented the word’, emphasising that “Nigger”is a racist term, developed by white people to describe
an external and different figure, an other. The term evokes reactions of anger and hate from Odin causing tears to roll down his cheeks. The term is used to denigrate Odin's difference and highlight his otherness.
Odin's otherness is conveyed through racism. Similar to Moor, the derogative term ‘nigger’ is used to depreciate Odin’s humanity and ego as it has negative and racist connotations. As Desi and Odin discuss the ramification of the term, Desi outlines ‘[Her] people invented the word’, emphasising that “Nigger”is a racist term, developed by white people to describe
an external and different figure, an other. The term evokes reactions of anger and hate from Odin causing tears to roll down his cheeks. The term is used to denigrate Odin's difference and highlight his otherness.
Music
Nelson employs the popular song Outkast in the background to emphasise the fast, avant-garde and urbanity of his context and to highlight Odin's otherness. Outkast explores the representation of black humanity and otherness through the similes and connotations of the lyrics. The simile ‘black like velvet’ emphasises that black humanity imparts the connotations of velvet,
softness and wealth. However, it is contrasted to ‘Black like the misfit hawk' alluding to the symbolic inferior bird that is outcasted from the pure white
doves due to its colour and ability.
Nelson employs the popular song Outkast in the background to emphasise the fast, avant-garde and urbanity of his context and to highlight Odin's otherness. Outkast explores the representation of black humanity and otherness through the similes and connotations of the lyrics. The simile ‘black like velvet’ emphasises that black humanity imparts the connotations of velvet,
softness and wealth. However, it is contrasted to ‘Black like the misfit hawk' alluding to the symbolic inferior bird that is outcasted from the pure white
doves due to its colour and ability.
Context
The theme otherness is central in both texts, Othello and O, however the way they are presented differ because of context. Shakespeare employs theatrical techniques of characterisation, colloquial racism and animalistic imagery to entertain the Elizabethan context as they had interest in theatre and drama whereas Tim Blake Nelson explores the theme within a film, where he appeals to his audience through the film techniques of characterisation, modern-day racism and avant-garde music.
The theme otherness is central in both texts, Othello and O, however the way they are presented differ because of context. Shakespeare employs theatrical techniques of characterisation, colloquial racism and animalistic imagery to entertain the Elizabethan context as they had interest in theatre and drama whereas Tim Blake Nelson explores the theme within a film, where he appeals to his audience through the film techniques of characterisation, modern-day racism and avant-garde music.