Discourse in Othello

Language is, arguably, the primary defining feature that separates humanity from the rest of the animal kingdom. It has allowed the classification of our known universe, and the subsequent formation of an abstract body of collective intelligence. Language also has the power to persuade and seduce, which has resulted in a dynamic understanding of our feeling and emotions. Due to the fundamental function of language to interpret and understand the complexities of our own social system, it follows that ways of speaking about specific ideas and beliefs are instrumental in the formation and manipulation of ideologies in such a system. In the context of Othello, Moor of Venice, discourse around gender works to both reinforce and challenge the dominant assumptions of patriarchal society through the marginalisation and empowerment of primary female characters.

The Elizabethan era marked an interesting period in the history of gender dynamics. Although the role of women in society was still very limited, the highly intelligent Queen Elizabeth inspired a spike in women’s education. Gender expectations were precise: men were the breadwinners and women raised the children and maintained the household. However, the era did witness the emergence of female artists; for example, female writers were often contracted to transcribe religious works, and a painter by the name of Leviana Teerlinc was even contracted by Henry VIII, Mary and Elizabeth. The intellectually liberal Renaissance movement gained momentum during this time, and as the empire’s female figurehead became ever more revered, the affluent members of society hired private tutors to provide education for their wives and daughters as it was still unacceptable for women to attend school or university. Women rarely had the money to fund their own education, with the exception of wealthy heiresses and the monarchy, as they were unable to enter respected professions or inherit land titles. Due to an overarching belief