• Priya Sandhu

Various traditions identify and confirm “silence” to be an appropriate condition for the female segment of humanity. It is maintained that this silence is an adage of a woman’s natural state. Silence has been scriptured in women within dominating social structures, as the modes of speaking and behaving. Silence, in both the literal meaning of the word, and in its extended significance of not being heard, or not being free to speak authentically has also been the mark of woman as victim, especially in a culture which does not accept her as the equal. Such culture insists upon recognizing her inherent differences, and treats her as an object, as other, as absence and emptiness. Toni Morrison’s Desdemona, attempts to delve into the subjectivity of Desdemona, and offers the Shakespearean characters the possibility of bridging gender differences. Desdemona draws from Shakespeare’s Othello to rethink about identity of its silenced subjects. By reversing the manly ethos and bringing the role of women to the front, this play succeeds in readjusting the Shakespearean story to render a feminist, cosmopolitan and democratic definition of the female self. In Morrison’s work the role of the main characters Othello and Desdemona is reversed and presents an ethnic and feminist vision of the tragedy that aims to fill the gaps that the story left open in the original play.

DESDEMONA : POLITICS OF SILENCE

"DESDEMONA : POLITICS OF SILENCE ", International Journal of Emerging Technologies and Innovative Research (www.jetir.org), ISSN:2349-5162, Vol.4, Issue 12, page no.165-169, December-2017, Available :http://www.jetir.org/papers/JETIR1712205.pdf

"DESDEMONA : POLITICS OF SILENCE ", International Journal of Emerging Technologies and Innovative Research (www.jetir.org | UGC and issn Approved), ISSN:2349-5162, Vol.4, Issue 12, page no. pp165-169, December-2017, Available at : http://www.jetir.org/papers/JETIR1712205.pdf