A Semiotics of Textual/Textile Signs and Trick Perspectives in Othello
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This paper explores how the deceptiveness and arbitrariness of various signs in Othello are associated with trick perspectives of the Renaissance. I first scrutinize how letters as deceptive textual signs in the play are analogous to trick-perspective paintings. Focusing on textile signs like the handkerchief, wedding sheets, and purses, I also analyze the ambiguous and complex flows of their meanings surrounding issues of the female sexuality, male anxiety, and homosocial relationships between male characters. The play demonstrates how the meanings of these textile signs continue to change depending on from whose perspective they are viewed and in which context they are placed. After examining the transformation of Iago in terms of his roles and relationships with other characters in the play such as Othello and Desdemona, I compare the shifting images of Iago to the illusive images of anamorphic paintings and triple perspective paintings of the Renaissance.
Abstract
This paper explores how the deceptiveness and arbitrariness of various signs in Othello are associated with trick perspectives of the Renaissance. I first scrutinize how letters as deceptive textual signs in the play are analogous to trick-perspective paintings. Focusing on textile signs like the handkerchief, wedding sheets, and purses, I also analyze the ambiguous and complex flows of their meanings surrounding issues of the female sexuality, male anxiety, and homosocial relationships between male characters. The play demonstrates how the meanings of these textile signs continue to change depending on from whose perspective they are viewed and in which context they are placed. After examining the transformation of Iago in terms of his roles and relationships with other characters in the play such as Othello and Desdemona, I compare the shifting images of Iago to the illusive images of anamorphic paintings and triple perspective paintings of the Renaissance.
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