so, since Othello's dead, the first thing that came to my mind is "NO KING NO KING LALALALALALA!" from The Lion King...
obviously, I looked up the video for that song on youtube, and realized that Iago is a LOT like Scar. (I know, I'm mixing my Disney movies... sorry Lindsey!)
let me explain... no, there is too much, let me sum up. (anyone? ...sigh)
they're both evil.
they're both conniving.
no one likes them.
they both get away with what they're doing almost the whole time.
no one knows they're lying through their teeth with every word they say.
they're both very intelligent.
they have idiots doing their bidding for them, but can't deal with their insurrection (hyenas, Roderigo)
Scar does die at the end, which is a little more fair, but it's also Disney, so it sort of has to end fairly.
and Scar does say ONE thing I like, which is "Life's not fair... is it?" and I don't like anything about Iago.
but yeah. as much as I hated Iago... this play is definitely one of my favorites so far... maybe because I understood it without needing to be spoon-fed, but regardless... I approve =]
enjoy!:
Thursday, January 27, 2011
dundundun...
how is dramatic suspense created?
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question four
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HOW IS DRAMATIC SUSPENSE CREATED?! ARE YOU KIDDING ME!? it's a tragedy, and NO ONE DIES... until the bloodbath at the end of act V. we all know it's a Shakespearean tragedy. so we all know that SOMEONE is going to die. (I was pushing for Iago the whole time, but we all knew that wasn't going to happen. just like the Seahawks making it to the Super Bowl). so THAT'S how it's created. haha
I mean, aren't we all sorta waiting the whole time for someone to die? usually, there's a few people here or there. at least one around Act III, but that didn't happen here! I mean, the play could end in Act III, really. that creates drama too... you kinda feel like it's over after that, so what more could Iago POSSIBLY want?! but he finds something. of course. I touched on this in my last post, but this question asks about it specifically... the fact that we know more about what's going on than the characters adds a lot of suspense too, I think. I was waiting for someone to figure it out the whole time and catch Iago in the middle of a bold-faced lie. it didn't quite happen that way.. and when it did it was a little too late, I think, but hey, I'm counting it...
good guys: 1
Iago: ugh.. not counting >=[
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question four
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..
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HOW IS DRAMATIC SUSPENSE CREATED?! ARE YOU KIDDING ME!? it's a tragedy, and NO ONE DIES... until the bloodbath at the end of act V. we all know it's a Shakespearean tragedy. so we all know that SOMEONE is going to die. (I was pushing for Iago the whole time, but we all knew that wasn't going to happen. just like the Seahawks making it to the Super Bowl). so THAT'S how it's created. haha
I mean, aren't we all sorta waiting the whole time for someone to die? usually, there's a few people here or there. at least one around Act III, but that didn't happen here! I mean, the play could end in Act III, really. that creates drama too... you kinda feel like it's over after that, so what more could Iago POSSIBLY want?! but he finds something. of course. I touched on this in my last post, but this question asks about it specifically... the fact that we know more about what's going on than the characters adds a lot of suspense too, I think. I was waiting for someone to figure it out the whole time and catch Iago in the middle of a bold-faced lie. it didn't quite happen that way.. and when it did it was a little too late, I think, but hey, I'm counting it...
good guys: 1
Iago: ugh.. not counting >=[
oh, hey, my blog title involves reality...
quesetion one: does the play involve realistic or nonrealistic conventions?
yes. (ha! caught you in a compound question!)
but really, I definitely think it employs very realistic conventions. maybe a little far-fetched and dramatized... but still plausible.
back again with the themes - they're definitely things that nearly everyone can relate to! some themes (like ones with daddy issues *coughMetamorphosiscough*) just don't apply to a wide spectrum, so the events that build that theme are not as realistic. this pulls conflicts straight out of real world drama (Real World drama, maybe?) that definitely makes things realistic, even if erring on the side of slightly stylized.
this question also asks about departures from normal conventions and their effects...
the only real departure I see is that Iago gets away with it the whole time. NO ONE catches on? really? I find that really hard to believe, but maybe that's the dramatic irony at work. because we know what's going on the whole time, we don't notice how slick he's really being?
ugh. I don't know. I still don't like him.
yes. (ha! caught you in a compound question!)
but really, I definitely think it employs very realistic conventions. maybe a little far-fetched and dramatized... but still plausible.
back again with the themes - they're definitely things that nearly everyone can relate to! some themes (like ones with daddy issues *coughMetamorphosiscough*) just don't apply to a wide spectrum, so the events that build that theme are not as realistic. this pulls conflicts straight out of real world drama (Real World drama, maybe?) that definitely makes things realistic, even if erring on the side of slightly stylized.
this question also asks about departures from normal conventions and their effects...
the only real departure I see is that Iago gets away with it the whole time. NO ONE catches on? really? I find that really hard to believe, but maybe that's the dramatic irony at work. because we know what's going on the whole time, we don't notice how slick he's really being?
ugh. I don't know. I still don't like him.
Thursday, January 20, 2011
Christian Powers: a font of creativity
luckily, I don't need to read Chrisitan's to come up with ideas for this.
this is my detail blog. yep.
first, my favorite line of the ENTIRE play (so far) is I.i.125-126:
"If this be known to you, and your allowance,
We then have done you bold and saucy wrongs."
essentially: "yo, brah, if you already knew about this, I'm wicked sorry for waking you, but it seemed pretty important, y'know?"
but "bold and saucy wrongs". yes.
"saucy" is my new adjective. it's - forgive me - saucy.
I've also decided to keep track of the number of racial slurs I come across. I'm not sure if that's really something that's meant to be focused on, but I find them interesting. and sneaky at times. for example, I.ii.70: "sooty bosom" isn't really a slur so much as it is a reference. but it's coming from Brabantio in his little rant about how Othello is no good for his daughter or something, so it's probably meant to be taken condescendingly. I'm up to about three that I've caught. but I'm not exactly searching.
this is my detail blog. yep.
first, my favorite line of the ENTIRE play (so far) is I.i.125-126:
"If this be known to you, and your allowance,
We then have done you bold and saucy wrongs."
essentially: "yo, brah, if you already knew about this, I'm wicked sorry for waking you, but it seemed pretty important, y'know?"
but "bold and saucy wrongs". yes.
"saucy" is my new adjective. it's - forgive me - saucy.
I've also decided to keep track of the number of racial slurs I come across. I'm not sure if that's really something that's meant to be focused on, but I find them interesting. and sneaky at times. for example, I.ii.70: "sooty bosom" isn't really a slur so much as it is a reference. but it's coming from Brabantio in his little rant about how Othello is no good for his daughter or something, so it's probably meant to be taken condescendingly. I'm up to about three that I've caught. but I'm not exactly searching.
y ahora, numero dos.
todavía en Español.
okay. and now number five.
THEMES! yay! everyone's FAVORITE part of analyzing any work of literature, right?
yes.
okayso, thus far (Acts I-III) I'm seeing a few recurring themes. two in particular that I remember discussing in class. (oh, so those DID have relevant purpose! haha, only kidding.) firstly: hatred stems from preconceived notions - or something to that effect. Iago has this hatred for Othello that I'm still not really able to understand. I mean, is it because he's black? or is it because he's (is he?) younger than Iago, but has higher rank? quizá es porque Othello has dado a Cassio a higher rank that Iago, and Iago thinks that he deserves the rank? I don't know. all I know is that I don't understand hatred.
secondly, jealousy runs rampant. there's a girl (or two...) involved in all of this. it's nearly inevitable. everyone wants Desdemona. everyone. Emilia probably wants her too. and Emilia doesn't really want Othello or Cassio or anything, but she's jealous of the attention, of course (typical!).
pretty realistic themes. I'm pretty sure that the in-class activity proved that though.
okay. and now number five.
THEMES! yay! everyone's FAVORITE part of analyzing any work of literature, right?
yes.
okayso, thus far (Acts I-III) I'm seeing a few recurring themes. two in particular that I remember discussing in class. (oh, so those DID have relevant purpose! haha, only kidding.) firstly: hatred stems from preconceived notions - or something to that effect. Iago has this hatred for Othello that I'm still not really able to understand. I mean, is it because he's black? or is it because he's (is he?) younger than Iago, but has higher rank? quizá es porque Othello has dado a Cassio a higher rank that Iago, and Iago thinks that he deserves the rank? I don't know. all I know is that I don't understand hatred.
secondly, jealousy runs rampant. there's a girl (or two...) involved in all of this. it's nearly inevitable. everyone wants Desdemona. everyone. Emilia probably wants her too. and Emilia doesn't really want Othello or Cassio or anything, but she's jealous of the attention, of course (typical!).
pretty realistic themes. I'm pretty sure that the in-class activity proved that though.
no puedo pensar en ingles.
y yo no sé porque. pero, pienso que debo continuar en ingles o no voy a sacar buenas notas. si mi maestro no puede leerlo, él no puede darme buenas notas, sí? uf. continuamos:
p. 1119 number 2
okay, I'm not sure how qualified I am to answer this question, but I'm going to anyway. from what I know, Othello is a tragedy (and a short visit with the Google machine has confirmed this knowledge). this knowledge alone is starting to ruin the play for me, but it's really unavoidable. the final question on number 2 is actually really closely tied to that statement: "how important to experiencing the drama is the audience's awareness of the classification of the play?"
and actually, I was going to address that anyway. raad!
SO, like I said, knowing that this is a tragedy (a Shakespearean tragedy, no less), I know things aren't going to work out well. but for who!? I mean, justice says that the lying scumsucker Iago gets it in the end, but will he? I mean, he has to, right? RIGHT? but probably not. in fact, the two that don't really deserve it probably get it in the end. but I'm just anticipating so many things, and it's kinda preventing me from fully enjoying the work as a whole, I think.
oh well. *another note in regards to my spanish use... I used the term "Shakespearean comedy" multiple times in discussion this past summer in my literature class. imagine that: pronouncing the word "Shakespearean" in Spanish. it's a monster.
p. 1119 number 2
okay, I'm not sure how qualified I am to answer this question, but I'm going to anyway. from what I know, Othello is a tragedy (and a short visit with the Google machine has confirmed this knowledge). this knowledge alone is starting to ruin the play for me, but it's really unavoidable. the final question on number 2 is actually really closely tied to that statement: "how important to experiencing the drama is the audience's awareness of the classification of the play?"
and actually, I was going to address that anyway. raad!
SO, like I said, knowing that this is a tragedy (a Shakespearean tragedy, no less), I know things aren't going to work out well. but for who!? I mean, justice says that the lying scumsucker Iago gets it in the end, but will he? I mean, he has to, right? RIGHT? but probably not. in fact, the two that don't really deserve it probably get it in the end. but I'm just anticipating so many things, and it's kinda preventing me from fully enjoying the work as a whole, I think.
oh well. *another note in regards to my spanish use... I used the term "Shakespearean comedy" multiple times in discussion this past summer in my literature class. imagine that: pronouncing the word "Shakespearean" in Spanish. it's a monster.
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