How does Shakespeare deploy discursive constructions of race and sex in his representations of Othello and
... Othello’s final speech of himself capitalises the two core inexplicably linked issues of the text; race and sex. Shakespeare constructed the ending of Othello, in such a way that Othello and Desdemona both expire on the terms at a note of single heroic couplet each concerned primarily and affectionately with each other . For Othello, the general with ‘thick lips’ (I. ... In Othello, Shakespeare represents a society in many ways fundamentally different from his own and rather than minimising or obscuring these differences he explores them in a politically create way. Othello knows only the feats of ‘broil and battle’(I. ... Othello is enfettered to Desdemona’s love and obsessed with is new bride, however his marriage with Desdemona commenced in awkward circumstances; the general required a hint to propose to her and his love surrounded the indecisive motive that ‘she loved me for the dangers I had passed and I loved her that she did pity them’(I. ... Despite the fact, Othello and Desdemona know little of each other, Othello proclaims that if it ‘ were not for the divine Desdemona’(II. ... Iago, however, continually opposes an ideal such as love, which he berates as simply ‘bloody love’, claiming when Desdemona is ‘sated with his (Othello’s) body’ the relationship will fall apart. ... This damning of race through vile sexual language is typical of Iago. Shakespeare calls into question the elusive notion of love itself, calling the audience to consider if it really exists, or whether love is merely glorified lust.