of black and white characteristic of the plays discourse. But the only actual battle the play promises. At the same time. (156)Identifying racial attitudes as inclusive of attitudes towards black sexuality, Newman references popular travel accounts of the time, outlining African as "presented descriptively. Again she refers to Ridley's criticism, claiming that his choice of example portrays a generalization of women as "petty thereby confirming his gender prejudice. Newman does not address other characters marginalised through class distinctions and gender. Sex (Click the themes infographic to download.) Othello explores some common sixteenth century anxieties about miscegenation (interracial sex and marriage) by examining the relationship between a bla. Newman sees such strategies of reading as a social responsible in that they illuminate artificial enactment of works which may falsely represent "those marginalised groups standing outside culture and simultaneously within." This representation she sees as being obscured by the immediacy of dramatic performance.
The role of the literary critic is seen as seeking a "slippage" in the text, thereby denoting duplicity and revealing how the internal linguistic and thematic rules are inexact. Ridley has displaced "the struggle of white against black man onto a cultural femininity." Newman is sympathetic to Stephen Greenblatt's (1980) view that Othello's identity is reliant on his "loss of his own origins, an embrace and perpetual reiteration of the norms of another culture. Warfare (Click the themes infographic to download.) Since the play's protagonist is a military general, war is always hovering in the background in Othello. Illustrating the early trend to portray Othello as white she"s from Thomas Rymer's "A Short view of Tragedy" (1693) which suggests that Othello's oratory skill was "sufficient to make the Black-amoor White hence the reference in her title. Contrasting this she terms the handkerchief a "snowballing signifier acquiring figurative and literal meaning as it passes from hand to hand. Her analysis of Othello is a demonstration of how seamlessly racial attitudes in early English drama where transmitted to viewpoints surrounding gender and sexuality, illustrating how mutually constitutive race, gender, and sexuality can.
Newman's outline of historical women's roles focuses solely on a westernized version of society and does okonkwo vs Unoka not address the way in which women were historically regarded within non-westernized cultures. Newman contests psychoanalytical readings as problematic since they "privilege a male scopic drama" casting the women as a "failed man" once again negating her "otherness" and limiting female sexuality to fetish. (149) Newman observes the portrayal of Desdemona as "voracious" and "devouring with a greedy ear threatening to masculine perceptions of femininity. Iago plots with consummate sophistication, carefully manipulating Oth. Her desire is presented in terms of an aural/oral libidinal causing Othello anxiety.