Diversity And Mass Media Essays - Arabs, Middle East, North Africa

Diversity And Mass Media The question of weather the media's role in establishing racial and ethnic equality is not only very easy to answer but needs to be answered. People need to think of how important it is. People tend to under estimate this power and hate to admit that the media shapes our opinions about people. Most of us will not stand the idea that we stereotype and classify people, let alone that we do that involuntary based mainly on the media. The media's bias in America hasn't taken any specific direction in the con direction. It has just cared always about being pro white. Most of the different major minorities in the US have somehow been attacked at some point by the media. I can't think of an ethnic group that escaped that suppression. African Americans, Latinos, Arabs, Italians, Russians and lately the Chinese. Perhaps the only group that somehow ended up with a good positive image are the oriental people, however I don't see the origin of this stereotype originating from the media. That positive image is a sort of thing that goes around people seeing a lot of oriental people in nice cars, successful at jobs and school. Sure, the media have set a stereotype that each and every one of them is a martial art master, but still I think most of the real positive image is from the daily life not the mass media. Perhaps as an Arab, I can totally relate to what Shaheen has written in his article about the media's image of Arabs. Not only was I furious when I saw Arabs portrayed in movies as primitive, camel riding nomads, but I had always asked my self why? Although Shaheen is from the small minority Christian Arabs, his comments are valid for all Arabs.

Free Essays on Suicide In Shakespeare

give me a immense feeling of sorrow and pity for Hamlet because it must take a lot of pain and suffering for someone to wish to take his own life. That is not something I fell is right, but I can understand the reason why Hamlet wants to die. Hamlet also expresses that there is nothing left in this world for him to live for. This feelings are not only expressed by Shakespeare through Hamlet, but it I have seen it the world today. For example, in the movie What Dreams May Come the death of a woman’s husband drives her to suicide because of the pain she feels, and she believes that there is nothing left for her to live for. She feels hollow and empty inside and decides the only way to end her pain and the feeling of emptiness is to take her own l... Free Essays on Suicide In Shakespeare Free Essays on Suicide In Shakespeare â€Å"O, that this too too solid flesh would melt, Thaw, and resolve itself into a dew! Or that the Everlasting had not fixed His canon ‘gainst self-slaughter! O God! God! How weary, stale, flat, and unprofitable Seem to me all the uses of this world!† -Hamlet -Act I, Scene 2, page 16 The topic of suicide is a controversial subject that many people choose to avoid, but Shakespeare approached the subject in his play Hamlet. I enjoyed reading how Shakespeare incorporated this subject into his play. He explores it mainly through the character of Hamlet. In the first four lines in the above passage, Hamlet wants to melt away, to disappear, or to exist no longer. He asks why God made suicide a sin because he does not want to cope with the grief of his father dying and his mother remarrying his uncle. The way Shakespeare conveys these feelings into the words of Hamlet are beautiful. He just does not say that I want to die, but uses eloquent words to allow the reader to visualize Hamlet’s thoughts in saying how he wants his flesh to melt, thaw and change to dew. I feel Hamlet’s strong feelings of pain when he asks why God had to make suicide a sin. Shakespeare’s words give me a immense feeling of sorrow and pity for Hamlet because it must ta ke a lot of pain and suffering for someone to wish to take his own life. That is not something I fell is right, but I can understand the reason why Hamlet wants to die. Hamlet also expresses that there is nothing left in this world for him to live for. This feelings are not only expressed by Shakespeare through Hamlet, but it I have seen it the world today. For example, in the movie What Dreams May Come the death of a woman’s husband drives her to suicide because of the pain she feels, and she believes that there is nothing left for her to live for. She feels hollow and empty inside and decides the only way to end her pain and the feeling of emptiness is to take her own l...

Contract Law and Case Law Coursework Example | Topics and Well Written Essays - 2000 words

Contract Law and Case Law - Coursework Example As the report declares the doctrine of consideration is considered by most people in the legal profession to be the most problematic doctrine within common law . There has been some considerable debate for a number of years as to whether this doctrine should be removed based on the confusion that is noted as often arising often result from its application, however a concrete decision is yet to be made in this respect. This paper stresses that lawyers often pose the argument that all contracts must as a matter of necessity be supported by an agreed upon consideration. In line with this argument, if an individual happens to promise anther party that he will perform a given act without there being any promise made in return, such an agreement is technically unenforceable as there will be no consideration exchanged in the contract agreement. In such a situation, the promisor is considered to be losing something without any gain while the promise on the other hand is considered to have made a gain without incurring any loss. However, if a promise happens to be made and the promise actually offers a promise in return, such an agreement is considered as having consideration and the contract that is entered into is legally enforceable. The case of Williams V. Roffey Bros & Nicholls is considered to have change the traditional rules surrounding the doctrine of consideration as had been set out in the rulin g that was made in the case of Stilk v. Myrik.

Visual Rhetoric Analysis Essay Example | Topics and Well Written Essays - 750 words

Visual Rhetoric Analysis - Essay Example Today Hermà ¨s fashion house is an element of the upmarket, it means that it produces luxury goods and doesn’t connect itself with a mass market. Hermà ¨s clothes and leather goods are important elements in every celebrity’s wardrobe - silk Hermà ¨s scarves were worn by princesses and duchesses and leather bags became so popular among world’s beau monde, that some of the models were named after famous personalities (like Birkin bag after actress Jane Birkin or Kelly bag after Grace Kelly) and became iconic to every fashionista. This ad was made for Fall 2008 campaign for Hermà ¨s and it shows an Indian girl between two elephants, standing on the ground, covered with flowers. Girl wears white shirt and jacket, her pants and boots are also made in white tints. Outfit is chosen smartly because a model has dark skin and her whole look with such contrast appears to be quite good. Elephants pictured here are also wearing their â€Å"outfits† – their eyes are circled with ethnic symbols and their paws are coloured in orange and pink. In fact, the whole image is very harmonic in color combination – white element in the centre with two dark parts by the sides, that finally is matched with orange and pink on the ground. â€Å"Orange Hermà ¨s et Rose Indien† – that is the name of this advertisement, but a closer look to this phrase has to be made. Basically, Hermà ¨s chose India and elements of Indian culture in their ad, and it can be explained by the genuine beauty of authentic Indian cultural dominants – beautiful women, pleasant color matches, silent grace of elephants in the context of pure nature. But what was the aim of this ad? What audience does Hermà ¨s address to? Apparently, not to the people who inhabit India in its most parts. As was pointed out earlier, Hermà ¨s is a luxury brand, worn by celebrities, so, we can make an assumption that this ad is appealing to the feelings of rich people about beauty of

English 1010 (Argument Essay) Essay Example | Topics and Well Written Essays - 750 words

English 1010 (Argument ) - Essay Example for the victim and their families.’ Those opposed to capital punishment do not believe that the government should be vested with the power to put any of its citizens to death. Opponents also maintain that the practice is racially biased, overtly costly and does not achieve the intended outcome. Capital punishment opponents argue that the practice does not deter crime, which statistics reprove. Opponents also deny that the death penalty is a deterrent to crime because of the nature of the reasons people commit homicide. People cannot conceive their own demise therefore cannot contemplate or appreciate the consequences. In addition, these crimes are usually committed as a result of impulsive actions and not carefully considered beforehand. Therefore, â€Å"the deterrent case has no validity† (Donohue, 2006). If the person committing the murder does contemplate the consequences, they may kill not only the victim but any witnesses as well rather than risk being caught. Fear of capital punishment potentially increases capital crimes. Many studies have been performed to determine if the death penalty is indeed deterrence. All prevailing research indicates capital punishment is as much of a deterrent to crime as a life sentence. Further, statistics from the U.S. Department of Justice show states that do not have the death penalty actually have lower murder rates. â€Å"The average murder rate per 100,000 people in 1999 among death penalty states was 5.5 and the average murder rate among non-death penalty states was 3.6.† (U.S. Dept. of Justice, 2001). The State of Texas is widely acknowledged as executing more prisoners than any other state, a title it holds on an annual basis. A study conducted from the years 1984 through 1997 demonstrated homicides were not deterred as a result of the practice. â€Å"The murder rate (in Texas) was steady and there was no evidence of a deterrent effect. The number of executions was found to be unrelated to murder rates (Sorenson,

Discourse Analysis Of Different Activities English Language Essay

Discourse Analysis Of Different Activities English Language Essay Discourse analysis incorporates a number of different activities, and merging them all together is too ambitious. However, the natural nature of discourse analysis seems to be agreed upon by the scholars involved in the field. Stubbs (1983) summarizes the realm of discourse analysis like this: The term Discourse Analysis is very ambiguous. I will use it to refer mainly to mean the linguistic analysis of naturally occurring connoted spoken and written discourse. Roughly speaking, it refers to attempts to study the organization of language above the sentence or above the clause, and therefore to study larger linguistic units, such as conversational exchanges or written texts. (Stubbs, 1983: 1) Discourse analysts seem to be interested in analyzing any kind of spoken and written discourse, and there are various distinct analytic patterns that can be applied to both types of discourse. This paper attempts to emphasize on some discourse analytic patterns applied by researchers in the field of learner written discourse analysis. Learner discourse is an invaluable resource that can be used, exploited, and analyzed by interested researchers in an attempt to clarify, classify, and describe the way learners use the language. Learner written discourse and texts often offer a rich resource for a learners language development. They can be used for diagnosis and evaluation, language awareness raising, and classroom use. In fact, theres a good case for learners texts being the best resources for a focus on language and they are closer to the developmental stage that other learners are going through (their interlanguage).When learners see their own used as classroom learning material, th ey become more motivated and as Scott Thornbury (2005) mentions: serves to break down the distinction between language learner and language user. In describing learner language, learner discourse can be dealt with via four major approaches identified by Ellis (1994: 44) including the study of learners errors. The focus of this paper is to try to study learners errors on some semantic and syntactic areas of discourse analysis naming grammatical and lexical cohesions, coherence (theme and rheme), ellipsis, reference, collocation, and nominalization. While focusing mainly on analyzing written texts for posterior classroom application, all the samples discussed seek to relate analysis of specific written texts to social and cultural contexts in which such texts are written and read. In our examples, we tend to demonstrate the approach of analyzing learners written assignments dealing with the issue of using and learning Arabic by foreigners in the United Arab Emirate to investigate the particular discourse methods used in the similar texts. In an attempt to relate discourse analysis with corpus linguistics, the researcher later su ggests that the use of concordancing in the teach ­ing and designing of written discourse in language classrooms is encouraging and worthwhile and presents samples of exploited concordances to highlight collocations. It des ­cri ­bes a possible way of having students approach discourse analysis tasks in an inductive and learner-centered manner. In this paper, there is an emphasis on the relationship between the linguistic features of the written texts and the UAE society in which they are produced. Written Discourse Written discourse incorporates communication by exploitation of textual material. It can be outlined in numerous modes. McCarthy defines, discourse analysis as the study of the relationship between language and the context in which it is used (McCarthy 1991:5). Written discourse does not have to deal with people speaking all simultaneously or even with spontaneous interruptions. McCarthy (1991:6) states that in written discourse the writer normally has time to prepare the text. He also mentions that in written discourse, the sentences are usually well formed in a way that the utterances of natural spontaneous talk are not. Learner Discourse Merely testing learners on their aptitude to write, or complete, isolated sentences is clearly inadequate if their overall ability to communicate at the level of discourse is a goal. However, even when whole texts are exploited for assessment or diagnosis, there is an affinity for many teachers not to be able to observe beyond their surface grammar errors, or to appreciate their strengths irrespective of their weaknesses. To guarantee a more efficient, more extensive, and more reasonable judgment, more comprehensive criteria for assessing texts are needed. Ellis (1994: 44) identified four major approaches in describing learner language: the study of learners errors the study of developmental patterns the study of variability the study of pragmatic features In our attempt to analyze learners text, the researcher tries to bear in mind the above-mentioned considerations. Patterns of Text Analysis Written texts can be analyzed using various patterns and methods. However, in our paper we tend to analyze texts dealing with the following aspects: Grammatical cohesion including reference (cataphoric, anaphoric, exaphoric, and endophoric cohesive devices), ellipsis, substitution, nominalization, and conjuncts; Lexical cohesion including reiteration, superordinate, repetition, and collocation. We now try to shed some light on the application of each of the abovementioned aspects. Cohesion Cohesion is the way a text is held together and has meaning (Holland and Lewis 2001:53), and the way unrelated structural elements are linked together, through the dependence of one on the other for its interpretation (Halliday and Hasan 1976:27 in Holland and Lewis 2001:55). Cohesive links can work within the text, endophorically, or outside the text, exophorically (Holland and Lewis 2001:53). Within the text they may be anaphoric when they refer to something that has already been mentioned, or cataphoric when they look to something that is yet to be mentioned (Holland and Lewis 2001:53). Halliday and Hasan propose grammatical cohesion and lexical cohesion, each with their own sub classifications, as the two categories of cohesion (1976 in Holland and Lewis 2001:55). Written texts can be analyzed by detecting the grammatical connections between individual clauses and sentences of the text known in linguistics as grammatical cohesion. Grammatical cohesion is what meshes the text toge ther. Renkema defines cohesion as the phenomenon of connectedness of sentences or utterances in discourse (Renkema, 2004). Cohesion in text conveys meaning to the reader. Grammatical Cohesion Cohesion in a text, as mentioned earlier, can be established in two ways; grammatical and lexical cohesion. We shall begin by looking at grammatical cohesion. Halliday and Hasan are pioneers in the study of grammatical cohesion. They mention that there are cohesive relationships between the sentences in a text and these relationships create texture. Texture distinguishes a text from something, which is not a text. McCarthy (1991:34) defines grammatical cohesion as the surface marking of semantic links between clasuses and sentenses in written discourse, and between utterances and turns in speech. Halliday and Hasan consider grammatical cohesion through reference, substitution, ellipsis and conjunctions. Reference is further subdivided into the categories of personal, such as pronouns (e.g. he, she, it, him, they, etc.), demonstratives (this, that, these, those), the article the, and items like such a (Halliday and Hasan 1976: 37-9) and comparatives (Holland and Lewis 2001:57-8). All three forms of referential cohesion can work either endophorically or exophorically (Holland and Lewis 2001:57-8). Substitution, usually working anaphorically, replaces a reference with a dummy object, while ellipses are of a similar nature, except the missing reference is replaced by nothing (Holland and Lewis 2001:58). Ellipsis is when expected elements of the text are omitted because they have already been mentioned formerly in the text or that they are spontaneously inferred. The last category of cohesion is conjunctions which operate through grammatical relationships between clauses or propos itions, and are subdivided into the categories of additive, adversative, causal, and temporal (Halliday and Hasan 1976 in Holland and Lewis 2001:60). Lexical Cohesion Halliday and Hasan consider lexical cohesion through reiteration and collocation (Angermeyer 2002:365). Reiteration could include the re-mentioning of an item using the original noun phrase, a synonym, a near-synonym, a superordinate expression, or a general word (Halliday and Hasan 1976 in Holland and Lewis 2001:63). Following such reiterations we can possibly create a lexical chain in a text. With regards to collocation, Halliday and Hasan note that it is a problematical category of lexical cohesion, (1976 in Angermeyer 2002:365), and Hasan later rejects collocation as a lexically cohesive category (1984 in Angermeyer 2002:365). Similarly, Hoey considers the various forms of repetition as the key aspect of lexical cohesion (1991 in Angermeyer 2002:365). Corpus Analysis Corpus means a body, and corpus analysis thus refers to the analysis of a body of language data. A corpus can be small (for example one newspaper article or letter) or large (several million words of naturally occurring spoken or written language). Linguistically speaking, corpus is any collection of natural language examples. It is a collection written and/or spoken examples of the usage of a language, employed in linguistic analysis. Presently, corpus analysis employs computer applications, called concordancers, in the analytic procedure. The computer applications designed for this type of analysis include concordance programs that can, for instance, recognize specific words selected by the researcher and demonstrate how frequently these words are used in discourse. Analyses of large corpora of spoken and written English have revealed the frequency and co-occurrence of many different lexical and grammatical items. This co-occurrence is called collocation. These analyses have been c apable of illustrating enormously facts about language that could hardly be inferred intuitively. For the purpose of this paper we tend to rely mostly on two major corpora naming the Collins WordbanksOnline English corpus sampler which is composed of 56 million words of contemporary written and spoken text as well as Vienna-Oxford International Corpus of English which is a structured collection of language data of English as a Lingua Franca.

Cowardliness? - Edgar Allan Poe :: essays research papers

Cowardliness? (Edgar Allan Poe – The Masque of the Red Death) Each person is individual. We actually act differently in the same situations. But the situation does not have to be so problematic and so stressing for each of us. Somebody will stay and face the arising problem and somebody will run away as quickly as possible. However still there is something we all have in common, we all hide a coward in ourselves. No matter how powerful, wealthy and strong we are, everybody is scared by something. This fatal fear makes us to do everything possible to avoid it and if there is no other way just to escape from it. But are we therefore cowards? There are lots of kinds of threats. Some of us are afraid of different sorts of animals, some are afraid of height, some are afraid of closed vessel, etc. However, the most usual fear is a fear of death. Also this piece of literature is about such a fear and what it can do to human. Poe chooses plague as his tool of death. He takes his time to perfectly describe how enormous threat such a plague can be: â€Å"No pestilence had ever been so fatal, or so hideous.† Another terrifying fact is that the plague is incredibly quick and therefore there is practically no chance to be cured: â€Å"At the whole seizure, progress and termination of the disease, were the incidents of half and hour.† To support the idea of dread, Poe is also describing the process of the horrible and painful dying: â€Å"There were sharp pains, and sudden dizziness and the profuse bleeding at the pores, with dissolution.† Moreover we can feel a certain respect to it. The author even calls it by a name â€Å"The Red Death† and uses capital letters. He is animating it this way and the reader realises it is not so easy to escape from it. So it is not surprising people are so thrilled by it. Maybe it is also because it is so painful. Maybe because it is extremely quick or maybe because it kills without any control. No matter if you are man, woman or child, if you are young or old, if you are rich or poor, etc. Poe uses a great example of what is human able to do to protect his own life. The Prince Prospero, â€Å"happy, and dauntless and sagacious† man has such a fear that he decides to isolate himself in a big fortress with â€Å"a strong and lofty wall girdled it in.

Othello Essay

William Shakespeare’s Othello is essentially a play about human passions, which, when unleashed, can be blind and destructive. Iago can be considered the most important character in the text, as it is him who manages to manipulate all the characters in the play by making use of their own weaknesses, so as to make them serve his own purpose of revenge. Iago’s motivations are multiple. He repeatedly states his hate for â€Å"the Moor†, and sets to destroy him and the other characters in the play. To achieve this, Iago makes use of the passions that he intuitively perceives as very prominent in the other characters: he uses Othello’s love for Desdemona and manages to drive him to believe she is unfaithful, he uses Desdemona’s generosity to determine her to speak to Othello in behalf of Cassio and so on. Thus, love and hate are the main human passions, but, from both of these, a third passion is often born: jealousy. Iago triggers Othello’s jealousy, and as he does so, he is motivated by his own jealousy. In Othello, Shakespeare shows how jealousy drives men to acts normally unconscionable. Jealousy motivates Iago to lie, cheat and steal his way to the chief lieutenant’s position. Without jealousy, men would be content in their environments and no conniving would occur. Jealousy is the strongest and the most powerful emotion in man. The most important feature of Iago is his permanent dissembling and his distortion of reality. This is the tool that he uses to deceive the others and to make them comply to his plan. Iago’s permanent dissembling is very important for understanding the motivations behind his acts. Even from the first scene of Act I, Iago declares that he acts so as to reach his own goals, and he is not devoted to any other person or sentiment than to himself. Thus, as Iago emphasizes, he only dissembles that he â€Å"follows† Othello as a servant, but in fact, only follows himself and is only faithful to his own motivations: â€Å"Others there are/ Who, trimm’d in forms and visages of duty,/ Keep yet their hearts attending on themselves,/ And, throwing but shows of service on their lords,/Do well thrive by them and when they have lined/ their coats/ Do themselves homage: these fellows have some soul;/And such a one do I profess myself. For, sir,/ It is as sure as you are Roderigo,/Were I the Moor, I would not be Iago:/In following him, I follow but myself;† (I. i. 49-59) Iago is motivated by his own designs and plans to destroy the Moor. Whatever the motivations that lie behind his hate for Othello, Iago makes it clear that he is only faithful to himself, and disregards any other feelings or principles that might stand in the way. At first sight, his almost diabolic plans seem to make of Iago a very cold and calculated character, since he manages to dissemble everything and to deceive everyone, while hiding his true nature and motivations. Iago is indeed Machiavellic in pursuing his purposes, and he states this himself, when he says that he will wear his heart upon his sleeve- a phrase that has a double meaning: firstly, he implies that he will play the others as he pleases, always taking the advantages as in a game of cards, and then that he will do this without any feeling or â€Å"heart†: â€Å"But I will wear my heart upon my sleeve/ For daws to peck at: I am not what I am. †(I. i. 65-66) However, as it shall be seen, Iago can not be considered as a mere cold blooded and Machiavellic character that acts only to reach his own abstract goals. Although his first motivation is to serve his own purposes and ensure his own comfort and pleasure, Shakespeare actually lets the reader see that Iago is motivated by his own passions, and most of all by jealousy, in his actions. The first hint in the play that corroborates this assumption is the fact that Iago’s manipulation of the other characters seems to spring from his own knowledge of the passions that impulse them. Iago’s is jealous of everyone else, and thus knows this feeling better that everyone and is able to use his knowledge to drive Othello to mad jealousy. He manipulates all the other characters as well, by using their own passions and a subtle distortion of truth: he uses Desdemona’s good heart to make her plead for Cassio in front of Othello, and thus drives her to perdition through her own actions, then he uses Cassio’s admiration for Desdemona and his desire to get his position back as a lieutenant to make him ask Desdemona for help, and so on. Even to achieve smaller purposes he always makes sure that the other characters are driven by some passion, so as to play them as he likes (as when he calls Barbantio, Desdemona’s father, and makes Roderigo tell him about his daughter’s corruption by Othello, and thus drives him into a rage). As such, Iago is a true Janus figure, a double faced character who dissimulates his own jealousy and passions to manipulate the other’s feelings: â€Å"Iago is like Janus, the two-faced god by whom he swears (â€Å"By Janus, I think no† [1. 2. 32]), in that he speaks with a double tongue. He alters his version of the truth to suit the occasion. To Roderigo he presents a Desdemona who is sexually susceptible, while to Cassio he offers a jaundiced view of â€Å"good name† — no longer the â€Å"jewel† of the soul that he praises to Othello (3. 3. 156) — when he asserts that â€Å"reputation† is an â€Å"idle and most false imposition† (2. 3. 267-68). Although Iago does tell a few direct lies, such as the presumably fabricated â€Å"dream† of Cassio, his speciality is more often â€Å"false interpretations of factual data† or the manipulation of empirical data to his advantage. †(Hall, 73) Some of Iago’s main motivations for his plans can be plainly read in his own statements and soliloquies in the text. Thus, the first motivation that comes into sight even at the beginning of the play is his jealousy of Cassio’s promotion as Othello’s lieutenant. Iago’s rancor drives him to call Cassio an incompetent lieutenant and to state that the place should have been his. He thus evinces the first sign of his over powering jealousy- he desires another man’s position and cannot stand to feel left aside: â€Å"As masterly as he: mere prattle, without practice/ Is all his soldiership. But he, sir, had the election/ And I, of whom his eyes had seen the proof/ At Rhodes, at Cyprus and on other grounds/ Christian and heathen must be be-lee’d and calm’d/ By debitor and creditor: this counter-caster,/ He, in good time, must his lieutenant be,/ And I–God bless the mark! –his Moorship’s ancient. †(I. i. 25-32) The second important motivation to determine Iago’s actions is again jealously. This time, it is jealousy of Othello, as he thinks that the latter has engaged in an adulterous relationship with his own wife, Emilia. The statement appears twice in the play, and Iago emphasizes that his revenge will be the â€Å"wife for wife†, that is, he will make Othello pay with Desdemona wife for taking his own wife Emilia: â€Å"I hate the Moor, / And it is thought abroad that ‘twixt my sheets / [He’s] done my office. † (I. iii. 386-88) I do suspect the lusty Moor/ Hath leap’d into my seat; the thought whereof /Doth (like a poisonous mineral) gnaw my inwards; /And nothing can or shall content my soul /Till I am evened with him, wife for wife. † (II. i. 295-99) The jealousy that Iago feels in both cases, for Cassio’s promotion over him and for Othello’s affair with Desdemona is unfounded as such. Emilia herself declines later in the play having had any kind of adventure with Othello. Therefore, it becomes obvious that these reasons that Iago takes up to pursue his revenge are more or less fabricated. He is indeed jealous both of Cassio and Othello, but his jealousy springs from an even deeper fountain than what that to which he admits: he is in fact eaten by envy for all the other character that is more successful than him or has more advantages than he does. Iago’s main motivation for his actions arises from an almost chronic jealousy of everyone and everything that main constitute a threat to his own ego: â€Å"Audiences accept the sincerity of his explosive â€Å"I hate the Moor† (1. 3. 377), his resentment at being passed over for promotion to lieutenant despite his being senior to Cassio (1. 1. 32-33), and his fear of being cuckolded (1. 3. , 378-79; 2. 1. 307). At the same time, they probably intuit other motives that drive his campaign of hatred: an underlying racial animosity toward Othello and bitterness at â€Å"class privilege,† a pervasive envy of anyone who is more successful than he is, and a need to assert himself through exercising power over the people who threaten his ego. †(Hall, 74) The love for his own self and his egocentrism are recurrent elements in Iago’s speech. This does not mean merely that he tries to preserve himself from harm and injury or that he always pursues his interests and ambitions. As already seen, Iago is indeed a character that always seeks his own interest. This can be easily inferred from the fact that he seems to act, as he himself states, to protect what is of his own right: his wife, and the position of lieutenant that, as he implies, should be rightfully his. However, Iago acts out of jealousy and a desire to possess everything that others possess, and not to protect his property. His idea is that the love for oneself should always come first, and annihilate any other principles, and this is one of the crucial reasons for his villainous actions: â€Å"[†¦] and since I could distinguish/ betwixt a benefit and an injury, I never found man/ that knew how to love himself. Ere I would say, I would drown myself for the love of a guinea-hen, /I would change my humanity with a baboon. † Since Iago’s love for himself drives him to jealousy of everyone else, he has no moral principles of his own. He mocks at love, virtue and honesty, reputation, and believes that the only true motivation for action should be that of pursuing one’s strict interests. In his conversation with Cassio, Iago advocates that reputation does not count for anything, and that a bodily injury would have been much more serious a wound: As I am an honest man, I thought you had received/ some bodily wound; there is more sense in that that/ in reputation. Reputation is an idle and most false/ imposition: oft got without merit, and lost without/ deserving: you have lost no reputation at all,/ unless you repute yourself such a loser. (II. iii. 270-275) Not only does Iago despise any moral principle or value, but he is jealous of them when he sees that the others have them. Another motivation for his actions is thus the jealousy that he feels at the beauty he sees in the others’ lives. This is his case against Cassio who has a â€Å"daily beauty in his life† that makes Iago â€Å"ugly†: [†¦ ] if Cassio do remain,/ He hath a daily beauty in his life/ That makes me ugly; and, besides, the Moor May unfold me to him; there stand I in much peril:/ No, he must die. But so: I hear him coming. (V. i. 18-22) Thus, most of Iago’s motivations are determined by jealousy and envy. His jealousy is not limited to Othello’s taking of his wife or to Cassio’s taking of his position as a lieutenant, as he woul d have us believe. He is jealous of all the things or persons that are good or beautiful. As such, Iago has been many times seen as the personification of evil. He is almost a devil, who tempts the passions and weaknesses of other people, a true artist of evil. As Joan Lord Hall affirms, Iago seems at time to act as the principle of pure evil that does not need motives: â€Å"Whereas the original Vice sporting his â€Å"self-proclaimed, ebullient villainy† does not need motives, Iago is not wholly convincing when he provides them. †(Hall, 78) Iago himself, after having devised his diabolic plan, proclaims himself the author of the evil that shall follow: â€Å" I have’t. It is engender’d. Hell and night/ Must bring this monstrous birth to the world’s light. † (I. iii. 424-425) Although it is clear that Iago is evil, it is still obvious that he has his reasons for being evil, and that these are almost pathologic. He hates everyone else and is jealous of everything, and these are the main things that make him be evil. As Hall observes, Iago is indeed a passionate character, and he is animated by a pathological form of jealousy: â€Å"His intrigues thus serve to shore up the terrible emptiness of his â€Å"inner abyss. † The actor of Iago, though, may prefer to portray him as a smoldering volcano of aggression and pathological jealousy rather than as an emotionally dead human being. (Hall, 79) Thus, Iago denigrates both love and virtue in his conversation with Roderigo, trying to persuade him that Desdemona could be his in spite of her seeming love for Othello and of Othello’s love for her. Love is but a â€Å"sect or scion†, something that arises in the senses and that can be controlled with the help of the will. This crude and naturalistic definition of love that Iago gives, is certainly rooted into his own jealousy at not being able to partake of this feeling or of any other: but we have reason to cool our raging motions, our carnal/ stings, our unbitted lusts, whereof I take this that/ you call love to be a sect or scion. (I. iii. 354-356) Iago cannot feel anything else except his own jealousy. This is why he imitates the feelings of Othello, and states that one of his reasons for his acts is his own lust for Desdemona. The position is however obviously false, as he only feels jealous of Othello and Desdemona’ love: Now, I do love her too;/ Not out of absolute lust, though peradventure/ I stand accountant for as great a sin, But partly led to diet my revenge,/ For that I do suspect the lusty Moor/ Hath leap’d into my seat; the thought whereof/ Doth, like a poisonous mineral, gnaw my inwards;† ( II. i. 312- 319) As Hall proposes, the ultimate reasons for Iago’s behavior can be rooted in his acute jealousy, which obviously is almost paranoid. He does not feel jealousy for his wife as such, but for every man that might be happy with a woman: â€Å"If we find in Iago’s soliloquies interior development rather than casual motive-hunting, then the character is suffering from acute jealousy and sexual paranoia. He appears to distrust his wife intensely. Resentful of Cassio’s attentions to Emilia at the harbor, he later wonders if Cassio has usurped his â€Å"nightcap† (his place in bed). In his very first soliloquy, he broods on the rumor that Emilia has slept with Othello. †(Hall, 79) The most interesting part in the play for this point is Iago’s conversation with Othello, and his â€Å"advice† to the latter against jealousy. Thus, Iago induces Othello’s jealousy by denigrating jealousy in front of him in such a way that it becomes obvious that he speaks from personal experience, and that he knows the feeling all too well. Thus, Iago appears as a character who acts out of extreme jealousy, while he manages to target the jealousy of Othello and make him be the one that actually performs the evil: â€Å"O, beware, my lord, of jealousy;/ It is the green-eyed monster which doth mock/ The meat it feeds on; that cuckold lives in bliss/ Who, certain of his fate, loves not his wronger;/ But, O, what damned minutes tells he o’er/ Who dotes, yet doubts, suspects, yet strongly loves! † (III. iii. 188-193) Iago’s ultimate silence at the end of the play helps the conclusion. He has been trying to manipulate everyone through his speech and lying and to reach his goals, but at the end he is silenced by Desdemona’s last speech of love. His jealousy is thus smothered by the power of true love: â€Å"Thus defeated a second time, what further silence can Iago seek to impose, except upon himself? His characteristic movement, from awareness of inadequacy to anger to denial, here reaches its logical conclusion, in a denial so complete that it blocks access even to a language formed from pain or anger. †(Zender, 328)

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