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연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
논문 기본 정보
- 자료유형
- 학술저널
- 저자정보
- 발행연도
- 2002.3
- 수록면
- 249 - 276 (28page)
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African response to Shakespeare's Othello during twentieth-century decolonization have radically resisted the image of Othello as a barbarian. And African revisions of the play have attempted to alter the European ideological and cultural codes that have discursively produced the black man as a violent 'other' while marking the white woman as his innocent, and often idealized, victim. From the traditional essentialist perspective, Shakespeare's play cannot forsee the violence and conflict of colonial history, and even in his dying moment, Othello perpetuates the dichotomy between 'civilized' Venetians and 'barbaric' non Europeans.
The 'new' literatures of Africa have as their theme the divided subjectivity of the black man, defined by Frantz Fanon as the "Black Skin, White Masks" syndrome. African revisions historicize Othello's psychic conflicts within the violence of colonial/postcolonial history. Two African rewritings of Othello, the Sudanese author Tayeb Salih's novel, Season of Migration to the North(1969), and Murray Carlin's Not now, sweet Desdemona(1968), written in the wake of the African independence movements, clearly embody a need for cultural decolonization. In Salih's novel, Mustapha Sa'eed self-consciously mimics Shakespeare's Othello, but unlike Othello, he is conscious of the way in which he is being defined by the West and he resists and manipulates the positions assigned to him within colonialist ideology. Salih ultimately concentrates on the immediate problems and pressures of the post-independence period, but he does not suggest the way of escape from the 'betweenness' of the postcolonial condition. In Not now, sweet Desdemona race conflict is articulated by a black actor playing Othello who rejects the image of Shakespeare's hero, 'civilized' by the Europeans. Carlin's Othello not only articulates the isolation experienced by blacks through history, but he also attempts to revise the typical relationship in which the black man is invariably cast as a sexual predator on innocent, white woman.
To conclude, both Not now, sweet Desdemona and Season of Migration to the North question whether Shakespeare's Othello can be read and appreciated without the interventions of its non-European revisions. Thus, to understand Othello's place in the postcolonial moment is to open the play to the competing ideologies of multiple interpretations. And 'decolonized' Shakespeare can be liberated from the Eurocentric ideology that has colonized his plays.
The 'new' literatures of Africa have as their theme the divided subjectivity of the black man, defined by Frantz Fanon as the "Black Skin, White Masks" syndrome. African revisions historicize Othello's psychic conflicts within the violence of colonial/postcolonial history. Two African rewritings of Othello, the Sudanese author Tayeb Salih's novel, Season of Migration to the North(1969), and Murray Carlin's Not now, sweet Desdemona(1968), written in the wake of the African independence movements, clearly embody a need for cultural decolonization. In Salih's novel, Mustapha Sa'eed self-consciously mimics Shakespeare's Othello, but unlike Othello, he is conscious of the way in which he is being defined by the West and he resists and manipulates the positions assigned to him within colonialist ideology. Salih ultimately concentrates on the immediate problems and pressures of the post-independence period, but he does not suggest the way of escape from the 'betweenness' of the postcolonial condition. In Not now, sweet Desdemona race conflict is articulated by a black actor playing Othello who rejects the image of Shakespeare's hero, 'civilized' by the Europeans. Carlin's Othello not only articulates the isolation experienced by blacks through history, but he also attempts to revise the typical relationship in which the black man is invariably cast as a sexual predator on innocent, white woman.
To conclude, both Not now, sweet Desdemona and Season of Migration to the North question whether Shakespeare's Othello can be read and appreciated without the interventions of its non-European revisions. Thus, to understand Othello's place in the postcolonial moment is to open the play to the competing ideologies of multiple interpretations. And 'decolonized' Shakespeare can be liberated from the Eurocentric ideology that has colonized his plays.
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