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The tragedy of Othello is not a fault of a single person, but is rather the consequence of a wide range of feelings, judgments, misjudgments, and attempts for personal justification revealed by the characters. Key quotation (Aside) O, you are well tuned now!But I'll set down the pegs that make this music, As honest as I am. He notes that Singers Unholy Bible: A Psychological Interpretation of William Blake (1970), though oversimplified in its psychobiographical approach and its treatment of characters as psychological projections of the author, does make original use in a literary context of such Jungian techniques of dream interpretation as amplification and of such fantasy-evoking procedures as active imagination.. . A Christian Moor and general of the armies of Venice, Othello is an eloquent and physically powerful figure, respected by all those around him. In addition, many powerfully heuristic Jungian concepts, such as synchronicity, have yet to be tested in literary contexts. From the theorists, dissertations, articles, and books, often traditionally academic in orientation, appeared; the productions of the practitioners are chronicled and critiqued in van Meurss bibliography. Alfiero, like Iago, similarly arouses the Moors suspicions by stealing Disdemonas handkerchief and planting it in Cassios bed-room. But heres my husband; Where a malignant and a turband Turk Bettina Knapps 1984 effort at an authoritative demonstration of archetypal literary criticism exemplified this pattern. Jung most frequently used myth (or mythologem) for the narrative expression, on the ethnological level (Collected 9, pt. Archetypal critics are also interested in certain myths and rituals that recur in a wide variety of cultures. Othello is generally regarded as Shakespeares greatest stage play, the closest he would ever come to conforming to the constrained rules of Aristotelian tragedy. In Cinthios story, Alfiero, the scheming ensign, lusts after the Moors wife, named Disdemona, and after she spurns his advances, Alfiero seeks vengeance by accusing her of adultery with Cassio, the Moors lieutenant. For the onlookers on stage, the final tableau of the dead Desdemona and Othello poisons sight and provokes the command to Let it be hid. The witnesses on stage cannot compute rationally what has occurred nor why, but the audience has been given a privileged view of the battle between good and evil worked out in the private recesses of a bedroom and a human soul. : Feminist: Ex. This last text explicitly named the movement and demonstrated its appropriation of archetypal theory for feminist ends in aesthetics, analysis, art, and religion, as well as in literature. archetypal criticism in othello america undercover life of crime Juni 12, 2022. used kawai upright piano . He carries out his own execution for a violation that threatens social and psychic order. An archetypal critic would suggest that all human experience is linked through literature and that this experience is expressed again and again using the same patterns throughout time and space. This type of criticism was first experimented by Maud Bodkin, in his book Archetypal Patterns in Poetry (1934). To furnish me with some swift means of death "Now will I question assio of ianca, As he shall smile, Othello shall go mad; . 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This burgeoning theoretical movement and the generally unsatisfying nature of so much early Jungian literary criticism are both linked to the problematic nature of Jungs own writing on literature, which comprises a handful of essays: The Type Problem in Poetry, On the Relation of Analytical Psychology to Poetry, Psychology and Literature, Ulysses: A Monologue, and Is There a Freudian Type of Poetry? These essays reveal Jungs lack of awareness as a reader despite his sense that they may show how ideas that play a considerable role in my work can be applied to literary material (Collected 15:109^. A archethpes symbol or myth leads to the establishment of a general truth. The patterns are the major intrinsic aspects of a work. As the pair kneels together, they exchange vows: Iago: Witness you ever-burning lights above, Not only does she try to protect Othellos reputation by blaming herself, Desdemona tells Emilia to remind Othello about her showing that she stills respects Othello. Indeed, myth criticism seems singularly unaffected by any of the archetypal theorists who have remained faithful to the origins and traditions of depth, especially analytical, psychologyJames Hillman, Henri Corbin, Gilbert Durand, Rafael Lopez-Pedraza, Evangelos Christou. Desdemona and Othello, therefore, face the usual challenges of the lovers in a Shakespearean comedy who must contend with the forces of authority, custom, and circumstances allied against their union. An archetypal critic would also say that the recurring patterns in literature prove that there are universal 364-367). Earnest Cassirer, a social anthropologist was an important influence on myth criticism. I do perceive here a divided duty: In Shakespeare?s play Othello, Othello himself is the tragic hero. Archetypal Criticism Archetypal theory and criticism, although often used synonymously with Myth theory and crticism, has a distinct history and process. In her final moments, Desdemona chooses not to blame Othello for her death because she saw that the honor of their love was more important than honesty. However, the protagonist of the tragedy play only partially meets the definition of Aristotles tragic hero. Frye frequently acknowledged his debt to Jung, accepted some of Jungs specifically named archetypes persona and anima and counsellor and shadow and referred to his theory as Jungian criticism (Anatomy 291), a practice subsequently followed in some hand books of literary terms and histories of literary criticism, including one edited by Frye himself, which obscured crucial differences and contributed to the confusion in terminology reigning today. That Cassios not alive. Cultural criticism is exploring or examining the relationship of dominant role based on ethnicity, and sexual identity of person, also a great understanding of yourself. Aristotles second requirement for a tragedy is that the tragic hero must have a reversal of fortune. Desdemona senses a change in Othello and she has a feeling that she will die soon due to the hands of Othello. Jung and the Humanities: Toward a Hermeneutics of Culture. Archetypal Criticism Volume I. archetypal criticism in othelloboone county wv obituaries. Macbeth) in the essay title portion of your citation. Issues of genre, period, and language were ignored or subjected to gross generalization as Jung searched for universals in texts as disparate as the fourth-century Shepherd of Hermas, the Divine Comedy, Francesco Colonnas Hypnerotomachia Poliphili (1499), E. T. A. Hoffmans tales, Pierre Benoits LAtlantide (1919-20), and Henry Wadsworth Longfellows Hiawatha, as well as works by Carl Spitteler and William Blake. Despite naively playing into Iago's hands earlier by giving him the handkerchief, Emilia shows her earnest loyalty to Desdemona. This heuristic distinction was formed, however, solely on psychobiographical grounds: Did the text originate in, and remain principally shaped by, the authors experience of consciousness and the personal unconscious or his or her experience at the level of the archetypal collective unconscious? Two publishing events at the beginning of the 1990s in the United States may signal the coming of age of this kind of archetypal criticism through its convergence with postmodern critical thought, along with a commensurate insistence on its roots in the depth psychology of Jung: the reissue of Morris Philipsons 1963 Outline of a Jungian Aesthetic and the appearance of Karin Barnaby and Pellegrino DAcerinos multidisciplinary, multicultural collection of essays, C. G. Jung and the Humanities: Toward a Hermeneutics of Culture. His destruction is essentially precipitated by his own actions, as well as by the actions of the characters surrounding him. Wow! In Re-Visioning Psychology, the published text of his 1972 Yale Terry Lectures (the same lecture series Jung gave in 1937), Hillman locates the archetypal neither in the physiology of the brain, the structure of language, the organization of society, nor the analysis of behavior, but in the processes of imagination (xi). Egypt) and titles (e.g. Desdemona is shown as the most pure and proper of the women in Othello and is put into the center of all the drama. Lon S. Roudiez, 1986); Estella Lauter and Carol Schreier Rupprecht, Feminist Archetypal Theory: Interdisciplinary Re-Visions of Jungian Thought (1985); Erich Neumann, Art and the Creative Unconscious: Four Essays (trans. No single motive is relied on for long, and the gap between cause and effect, between the pettiness of Iagos grudges and the monstrousness of his behavior, prompted Samuel Taylor Coleridge in a memorable phrase to characterize Iagos motiveless malignity. There is in Iago a zest for villainy and a delight in destruction, driven more by his hatred and contempt for any who oppose his conception of jungle law than by a conventional naturalistic explanation based on jealousy or envy. Another important influence was Carl Gustav Jung (1875-1961) who used the term archetype to what he called "primordial images". Iago will direct the remainder of the play, constructing Othellos down-fall out of the flimsiest evidence and playing on the strengths and weaknesses of Othellos nature and the doubts that erode Othellos faith in Desdemona. The tragedy of Othello is not a fault of a single villain, but is rather a consequence of a wide range of feelings, judgments and misjudgments, and attempts for personal justification exhibited by all of the participants. Even French feminist Julia Kristeva has been brought to praise a Jungian contribution to feminist discourse on the maternal: recognition that the Catholic churchs change of signification in the assumption of the Virgin Mary to include her human body represented a major shift in attitude toward female corporaiity (113).