Teaching and knowledge have become increasingly fragmented, with emphasis not on understanding reality, but on building expertise in marketable skills and knowledge.
Genuine academic discourse and rational debate have given way to issue advocacy and political correctness.
In seeking new ways of reading Othello Newman draws on Derrida’s poststructuralist ideas to establish parallels between the relationship of gender and race.
She contends that Desdemona and Othello are equally marginalized by Venetian society; Othello’s race and Desdemona’s progressive sexuality presenting equivalent risk to the dominant white male society.
Newman’s celebrated work, , declared principles that resonate clearly today: the primacy of theology, the integration of knowledge, and the certainty that all truth comes from God.
Newman was critical of his fellow Oxford intellectuals, many of whom were enthralled with science and had come to distrust any religious truth that could not be proven by observation.we sit at home bringing everything to ourselves, enthroning ourselves in our own views and refusing to believe anything that does not force itself upon us as true.” Strikingly, Newman’s words written about 150 years ago paint an accurate portrait of contemporary America and American education.For the most part, teachers, professors and students — as well as politicians, physicians and others — sit on the thrones of their own expertise, their own ideas, their own causes with minimal regard for the Truth revealed by God.In her 1987 article “‘And wash the Ethiop white’: femininity and the monstrous in Othello,”1 Karen Newman sets out re-examine prior critical analysis of Shakespeare’s Othello with the goal to re-read Shakespeare in ways which […] contest the hegemonic forces, [his] plays at the same time affirm (158).” Her argument scrutinizes the “the male-dominated Venetian world” (152) of the play and the criticism that it has generated against correlating historical perspectives.Her main thesis about the play asserts that “the union of Desdemona and Othello represents a sympathetic identification between femininity and the monstrous which offers a potentially subversive recognition of sexual and racial difference.” Employing a feminist approach Newman reveals the racial and gender prejudices inherent both in the play and the critique levelled at it from 1600 through to 1980.You can view samples of our professional work here.Any opinions, findings, conclusions or recommendations expressed in this material are those of the authors and do not necessarily reflect the views of UK Essays.To substantiate she quotes from the play: “Black ram” tups “white ewe” and “O, the more angel she, And you the blacker devil.” The last line illustrates what Newman terms “rhetorical miscegenation.” Outlining the frequency with which black and white were used to “denote polarization” during the Renaissance, (145) she comments on how the emphasis in Othello of Desdemona as “the idealisation of fair female beauty” is usually read to emphasise the contrast between these two characters, and declares that contrary to early critics she views Desdemona not as a representative of opposition to “blackness and monstrosity, as black is to white,” but as identifying with it.Newman’s assertion that the “play is structured around a cultural aporia, miscegenation” is the first cornerstone of her argument.That completes the final step toward his beatification, which is expected to occur next spring.Newman’s beatification carries great significance for the Church as Catholic higher education faces a difficult crossroads.