Diplôme de muséologie--Paris--Ecole du Louvre, 2003. / Bibliogr. p. 53-58.

This thesis will be mostly concerned with the twentieth-century criticism of Othello; some attention will be given to earlier criticism to determine to what extent twentieth-century criticism fits into patterns of thinking before the twentieth century. Some consideration will be given to the background of Othello before taking up the various aspects and periods of criticism.

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A study of the character of Iago from Shakespeare's Othello. Traces the trends of interpretations, schools of thought, and major influences in interpretations of Iago as manifested in a survey of the writings of Shakespearean critics of the eighteenth, nineteenth, and twentieth centuries. The emphasis of the study shall be on twentieth-century criticism, with possible established patterns of interpretation and their relation to or deviation from the patterns of the two previous centuries.

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The means by which Othello and Barabas experience their racial othering is not directly by racist intentions. In experiencing their otherness through alternative motives, they then deny the power that their excluders initially desire.

I den här uppstatsen undersöker jag temat manipulation. Jag tittar på vad det har för inverkan på berättelsers utformning samt om det finns andra teman som ofta kombineras med manipulationstemat. Min utgångspunkt är Karin Boyes Kallocain och därifrån kommer jag dra paralleller till William Shakespeares Othello och Aldous Huxleys Brave New World. Genom att vända mig till just de här två berättelserna får jag en inblick i såväl genretillhörighet som temats utveckling över tid. Uppsatsens teoretiska utgångspunkt är C.G. Jungs teori om det kollektiva omedvetna med mänskliga grundläggande urbilder som återkommer i arketyper. Resultatet är ett grundläggande händelseförlopp och en insikt om den djupare mänskliga samhörighet som berättelsernas hjältar först inte vågar tro existerar.

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This thesis examines adaptations of William Shakespeare’s The Tragedy of Othello, the Moor of Venice (c. 1601–4) across media, comparing cinematic, televisual, musical, visual art, and online adaptations, among others, in an endeavour to determine its adaptability in various periods and cultural and societal contexts, with a focus on the issue of race. Shakespeare’s seeming endorsement of a racial stereotype has proved to be challenging in adaptations, which have not always been successful in either reproducing or interrogating the issue, despite the fact that the play has continuously been engaged with across media, periods, and cultures. Resultantly, the thesis considers the ways in which the race issues present in Othello have been exploited, adapted ‘faithfully’, ignored, and negotiated in different contexts. Sustained consideration of representations of the race issues of the play from a Western perspective has not been undertaken previously and this thesis analyses the use of Othello as a vehicle for commenting on and reflecting contemporary current events through the lenses of adaptation theory and the singular history that adaptations of Shakespeare’s work have. Initially, the thesis explores national readings of screen adaptations (from the United States, Great Britain, and outside the Anglo-American gaze), before grouping adaptations by media (such as music and online videos, as well as allusions in other media), deducing why specific adaptive trends have endured in Othellos, examining the relationship between the adaptability of the play and the media in which it is placed. A pertinent question addressed is: what is Othello’s place in adaptations of Shakespeare’s work – and how adaptable is it when both black and white performers and adapters perpetuate racial stereotypes? One conclusion drawn is that – despite its prevalence across media – Othello is inadaptable when its race issues are linked – through various methods – to the contexts in which it is placed, changing them in the process.