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Please use this identifier to cite or link to this item: http://hdl.handle.net/10087/7951

Title: ファッションとジェンダー : Othello、ハンカチ、フェティッシュ
Other Titles: Fashioning Gender : The Fetishizing of the Handkerchief in Othello.
Authors: 八鳥, 吉明
Keywords: ファッション
Issue Date: 3-Mar-2011
Publisher: 群馬工業高等専門学校
Citation: 群馬高専レビュー,(29),49-54
Abstract: This paper analyzes the problems of the female body and femininity, and then investigates the interplay of clothing, the body, and gender/sexuality, by elucidating the meaning of the handkerchief as represented in William Shakespeare’s Othello. In early modern England, the handkerchief generated new concepts of cleanliness on the basis of which the female body was redefined. The normative female body was redefined as enclosed, that is, hortus conclusus---or “enclosed garden.” But, driven by male anxieties, it was also conceptualized as a leaky vessel. These are the contexts that take on great importance when Othello gives Desdemona a handkerchief. Losing the handkerchief, Desdemona’s body becomes the object of Othello’s suspicion. Her body, in the eyes of Othello, is transformed from an enclosed garden into a leaky vessel. It is thus revealed as grotesque and sexual. Caught in his own male anxiety, Othello fixates on the handkerchief and its meaning, transforming it into a fetish. What Othello makes clear is that the female body and, by extension, femininity are nothing but a fetish and its effects. In other words, Desdemona’s female body is prosthetically reproduced through fixation upon a single article of clothing added to the body, that is, the handkerchief. Although the handkerchief is a mere prosthetic addition, it tragically reconstitutes the whole meaning of Desdemona’s identity through a process of fetishizing. But Emilia, Iago’s wife, resists Othello’s appropriation of the interpretation of the handkerchief. In Othello, the gendered/sexualized body is produced through the interplay of clothing and the body, but its meaning is unstable and uncertain. This uncertainty is emphasized by the fact that, on the English Renaissance stage, boy actors played women’s roles.
URI: http://hdl.handle.net/10087/7951
ISSN: 0288-6936
Appears in Collections:第29号(2010)

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