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美国北卡罗莱纳州立大学代写:Desdemona文学重要性

而奥赛罗惨死超过Desdemona在文学上的重要性,Desdemona变得更加悲惨的角色比她分居的丈夫。她没有做任何事情来赢得丈夫的鄙视,她的杀人意图和自杀最终是自我验证的唯一手段。她已成为Othello的“自我牺牲”的对象,没有什么比莎士比亚悲剧中的另一个因素。他在德斯迪莫纳的写照,莎士比亚可能已经能够提出一个女性为站女性在社会和滥用的人手里。但Othello不是坏蛋:Iago是人描绘为摧毁一个生命,不在德斯迪莫纳的传递而在Othello失宠。德斯迪莫纳,尽管女性人物在Elizabethan剧院的争论的情况下,最终是太被动是一种可行的女权主义。如果她宣称自己,并称奥赛罗的不安全感,她丈夫的自尊心可能受到了损害,但这将有助于他查明手头上的主要罪犯。Desdemona面对她的父亲并不是她自己的丈夫是女权主义的观点质疑;婚姻,不能自给自足,是Desdemona的最终目标。她既不想证明自己,也不寻求她的自我价值感,而是选择了一个热爱她所热爱的荒野的生活。从本质上讲,她是从一开始的受害者。

美国北卡罗莱纳州立大学代写:Desdemona文学重要性

While the tragic death of Othello surpasses Desdemona’s in literary importance, Desdemona becomes more tragic a character than her estranged husband. She has done nothing to earn the contempt of her husband, whose murderous intent and eventual suicide serve as the only means of self-validation. She has become an object in Othello’s “self-sacrifice”, nothing more than another factor in Shakespearean tragedy. In his portrayal of Desdemona, Shakespeare may have been able to present a feminist case for the station of women in society and their abuses at the hands of men. But Othello is not made the villain: Iago is the person portrayed as destroying a life, not in Desdemona’s passing but in Othello’s fall from grace. Desdemona, though a possible case for the argument of feminist characters in Elizabethan theatre, is ultimately too passive to be a feasible feminist. Had she asserted herself and called Othello’s insecurity, her husband’s pride may have been compromised, but it would serve as a means for him to identify the primary culprits at hand. That Desdemona confronted her father and not her own husband plays the feminist argument into doubt; marriage, not self-sufficiency, was Desdemona’s final goal. She sought neither to validate herself nor her sense of self-worth, but rather chose a life of devotion to the Moor she loved. In essence, she presented herself as a victim from the very beginning.

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