『오셀로』에 나타난 폭력의 다양한 양상: 오셀로의 이중적 정체성과 베니스 이데올로기와의 상관관계를 중심으로

Abstract

This thesis examines to understand the nature of violence represented in Othello by analyzing the relationship between Othello's double identity and Venetian ideology. As revenge is the driving force of this tragedy, this play could be understood as a revenge play. As the revenge tragedy unravels, it presents different aspects and features of violence. Iago's plot in making Othello suspect his wife is a form of verbal violence. Othello blindly accepts Iago's deceitful language and begins to question Desdemona's chastity; a suspicion based on falsehood which serves as violence to Desdemona. Othello's mistrust turns into verbal abuse where he comes to call her a "whore," and further promotes physical violence by slapping and ultimately suffocating her. In the end, his violence turns self-destructive as he commits suicide, indicating that Othello's revenge against Desdemona transforms into a violent revenge upon himself Iago invokes Othello's suspicion towards Desdemona by questioning Othello's identity. In order to do this, Iago uses racial ideology prevalent in Venetian society. This ideology hinders Othello, the "noble savage," f?om fully merging L- into Venice. His marriage to a white woman infuriates Brabantio, signifying that Othello remains as the marginal "other." His identity is twofold as the emblem of both self and other. At the same time, Iago uses misogynistic gender ideology to make Desdemona's subjectivity a proof of adultery. Othello's insecurity about his identity drives him to accept Iago's Venetian ideology and internalize it in a way that is both fatal and destructive. In this sense, Othello is ultimately a scapegoat of the prejudiced ideologies of Venice which function as the fundamental violence that drives him and Desdemona to death.