Othello exam technique

Improvements to focus on from mocks to real exams

-Consider what theories/approaches the extract lends itself to, rather than shoehorning in concepts that don't really fit. Start by considering what language levels you can apply to the extract. -CHARACTERS and RELATIONSHIPS should be central to your answer - think about status, age, power and changes within characters and how this links to the question focus. -Make it clear that you have linked certain points in the play to the extract in the question. -Make it clear how theories and ideas relate to quotations. Don't assume it is obvious. -Consider how the extract is used within the play - is it central to character development / the genre? -Use the conclusion effectively. Last point is a good way into writing conclusion. -Think of the extract in the question as the trunk of the tree - this should be the main focus, although you must frequently link to other moments in the play.

Improvements to focus on from mocks to real exams part 2

-Make sure your response to the extract is the central part of your answer -Make it clear how ALL your points relate to the topic in the question -Make sure to include both historical AND literary context. Write about how the extract links to the structure and ideology of a tragedy -Analysis should be woven throughout the extract -Make sure terminology is applied correctly

Terminology to use in the exam

-Felicity conditions (conditions that are needed for a SPEECH ACT to achieve it's purpose). Remember that speech can be described as felicitous. Also remember that felicity conditions can not be applied to extracts as a whole. -Epistemic modality (expressions that highlight degrees of belief, certainty and perception) -Positive/negative politeness and face threatening acts -Upwards/downwards convergence -Sentence functions -Shakespearean seven part tragedy structure -Adjacency pairs/ cooperative principle -Verse/prose -Soliloquys / asides

Techniques and ideas which can be picked up on in the exam

-Othello's tragic flaws. For example, his skin colour, his gullibility, his blinding love for Desdemona, and his jealousy for Desdemona. Look at his qualities and weaknesses (refer to Othello revision). -Catharsis - This means the purgation of one's emotion, or the expression of one's emotions through the aid of tragedy. Some of Othello's emotions such as jealousy and paranoia could be seen as being released through the aid of tragedy. -External and internal conflict. For example Othello's battle against the Turks (external conflict) vs his paranoia over Desdemona's loyalty (internal conflict). -The seven part structure of the play (refer to Othello revision). -Referring to Soliloquies, Asides (brief observations that are not meant to be overheard by other characters) and Prose/Verse. Referring to how these are used throughout the play rather than just in one specific extract. Also look at accommodation (how people adjust their speech behaviors to match others) and upwards/downwards convergence. -The numerous soliloquy's from Iago, found in Act 1 Scene 3, Act 2 Scene 1 and Act 2 Scene 3, demonstrate his significance in the play. This is because it is usually the main character (in this case Othello) that has the most soliloquy's in the play.

Considerations when scripting speech

-Remove fillers and pauses - unless added as stage directions -How the audience will react - do they understand it? -Structure for effect and impact -Timing should be planned rather than spontaneous -Genre conventions -Stage directions -Staging -How language conveys character

Structure of exam answer

-Think of the extract as the trunk of the answer, with the branches being the links to the other parts of the play. -There are two ways that you can structure the answer. You can either write about the extract first and then move on to the rest of the play, or in each paragraph concentrate on the extract first and then move on to the rest of the play. -The suggested structure for paragraph order is to first have an introduction where an OVERVIEW of the extract is given, WHERE it comes in the play and WHY it is so important in addressing the theme or issue that is being asked about. THEN have 3-4 paragraphs with point-evidence-explain, linking to the rest of the play and the context OR 3 analytical paragraphs followed by 1 paragraph linking the theme to the rest of the play. THEN a conclusion, where the play as a whole should be considered, and what the message is that Shakespeare has for us regarding the theme or issue in general. In other words, looking at the big picture.

So what counts as context in AO3?

1. The themes of the play and the rest of the play in general 2. Pragmatics. Where is the dialogue taking place? Who is it between? What has happened before and after? What time of day does it occur? 3. Social context. This includes power, status and expected behavior (this could be linked to the Renaissance and the changes in expected behavior), and rules governing relationships at the time in which the play is set. 4. Race and how this impacts on interaction 5. Linking to Shakespeare's use or divergence from the conventions of tragedy 6. Referring generally to the period in which the play is set (early 17th century during the Renaissance) 7. Referring to literary criticism or different interpretations of the text/characters 8. The text as scripted interaction and what this entails

Specific examples in each act

ACT 1.1 Felicity condition- It must be night and Brabantio must be awoken from sleep in order for him to get so annoyed with Iago and Roderigo, and for them to have to try and convince him of his daughter's infidelity. "Upon malicious knavery dost thou come To start my quiet?." (Brabantio line 105) Sentence type/function- "Arise, I say!" (Iago, imperative). Modal verb- "Sir, I WILL answer any thing." ( Roderigo line 120) ACT 1.2 Epistemic modality - "O thou foul thief, where hast thou stowed my daughter? Damned as thou art, thou hast enchanted her!" (Brabantio line 65). Here, Brabantio is clearly certain that Othello has put a spell on his daughter. Iambic Pentameter - Line 10? Adjacency pairs - Adjacency pairs between Othello and Brabantio (starting near line 60). It is adjacency pairs as Othello is clearly listening to what Brabantio says and replying accordingly. ACT 1.3 Felicity condition - Othello must be black for Brabantio to be so disgusted at the prospect that his daughter is marrying him. "That it engluts and swallows other sorrows And it is still itself," and "She is abused, stol'n from me, and corrupted By spells and medicines bought of mountebanks." (Near line 60) Sentence type/function - "What do you have to say for yourself." (Interrogative, Duke, near line 75) Modal verb - "We must not think the Turk is so unskillful," (First senator - line 30). Act 2.1 Epistemic modality - "Therefore my hopes, not surfeited to death Stand in bold cure." (Line 50, Cassio) Here, Cassio is saying how he still holds hope for Othello arriving at Cyprus safely. Iambic Pentameter - Line 80? Adjacency pairs - Adjacency pairs between Iago and Desdemona in line 125 - 160. Iago and Desdemona are listening to what the other one says and responding accordingly. Act 2.2 HERALD Act 2.3 Felicity condition - Cassio has to be drunk in order to attack Roderigo. "A knave teach me my duty?I'll beat the knave into a twiggen bottle", (line 110) and "Dost thou prate, rogue?" The latter line is right before Cassio strikes Roderigo. Sentence type/function - Imperative from Iago. "How now, Roderigo? I pray you, after the lieutenant, go!" (near line 100). This line is important to set Iago's plan in motion. Modal verb - "I COULD well wish courtesy would invent some other custom of entertainment." (Cassio, near line 25). This modal verb shows Cassio's blatant disliking of drinking in general. Act 3.1 Epistemic modality - "Good morrow, good Lieutenant. I am sorry For your displeasure, but all will sure be well." (Line 30, Emilia). Here, Emilia demonstrates a strong belief that Othello will accept back Cassio as his lieutenant. Perhaps shows that Emilia looks up to Cassio. Iambic Pentameter - Masters, play here, I will content your pains. Something that's brief, and bid "Good morrow, general." (First line of act). NOT SURE ABOUT THIS. Adjacency pairs - Conversation between the clown and the musician. This is because everything that is said rapidly moves the conversation along, and both parties listen to each other carefully. For example, the musician says they will stop playing as soon as the Clown says that Othello does not want to hear it. Act 3.2 OTHELLO DOES HIS JOB OF ATTENDING TO THE FORTIFICATION OF THE ISLAND OF CYPRUS Act 3.3 Felicity condition - Othello must be extremely jealous in order to command Iago to kill Cassio and for him to want to kill his own wife, Desdemona. This also must apply for him to so quickly instate Iago as his lieutenant. "To furnish me with some swift means of death. For the fair devil. Now art thou my lieutenant." (End of act). Sentence type/function - There are a lot of interrogatives from Othello, as his paranoia increases. Examples of interrogatives from him are "He did, from first to last. Why dost thou ask?" "Why of thy thought, Iago?" "Indeed? Ay, indeed! Discern'st thou aught in that? Is he not honest?" (All on page 5). Modal verb - "That he WOULD steal away so guilty-like Seeing you coming." (Iago, near line 40). Here, Iago is first mentioning the possibility that Desdemona is having an affair on Othello, but is being very subtle about it. Act 3.4 Epistemic modality - "Who, he? I think the sun where he was born Drew all such humors from him." - near line 20. Here, Desdemona is demonstrating a very strong belief that her husband, Othello, does not possess any sort of jealousy. Iambic Pentameter - DESDEMONA I will not leave him now till Cassio Be called to him.—How is 't with you, my lord? OTHELLO Well, my good lady.—(aside) Oh, hardness to dissemble!— How do you, Desdemona? Adjacency pairs - There is an example of adjacency pairs between Othello and Desdemona on pages 4 and 5. This is because everything the couple say builds the conversation, which becomes more and more tense until Othello loses his temper and storms out. Act 4.1 Felicity condition - While Cassio and Iago talk (starting on page 5 and ending on page 8), Othello has to think that the pair are talking about Desdemona rather than Bianca (who they are really talking about). This is perhaps the final straw in Iago's plan of convincing Othello of his wives infidelity, and probably plays a big part in the striking of Desdemona from Othello later on. Sentence type/function - Imperative from Othello - "Get me some poison, Iago, this night." (near line 155). Modal verb - "By heaven, I WOULD most gladly have forgot it." (Othello, near line 20). Here, the modal verb emphasises just how important the handkerchief is to Othello, and how much it represents. Act 4.2 Epistemic modality - There are a few strong examples of epistemic modality at the start of the act. For example "Nor ever heard, nor ever did suspect," "But then I saw no harm, and then I heard Each syllable that breath made up between them", and "I durst, my lord, to wager she is honest, Lay down my soul at stake. If you think other Remove your thought, it doth abuse your bosom," from Emilia and "She says enough, yet she's a simple bawd That cannot say as much. This is a subtle *****, A closet, lock and key, of villainous secrets. And yet she'll kneel and pray, I have seen her do 't," from Othello. Iambic Pentameter - "Some of your function, mistress, Leave procreants alone and shut the door." (Othello, near line 30). Adjacency pairs - There is adjacency pairs between Roderigo and Iago, starting on page 9 and ending on page 12. It is adjacency pairs because everything that is said is relevant to the building of the conversation, and also Roderigo and Iago both take turns and listen to what the other person has said. This is crucial, as the content of the conversation is very important. This is because Roderigo is first showing his distrust towards Iago. Act 4.3 Felicity condition - A felicity condition in this act is when Desdemona starts singing the willow song on page 3. This songs reflects Desdemona's current situation, where she is worried that the man she has married has gone crazy and will desert her, which is what the song reflects. Therefore, Desdemona must be feeling afraid and abandoned in order to breakout singing this song. Sentence type/function - There is a strong imperative from Othello in the first page of the act, where Othello says, "Get you to bed on th' instant, I will be returned Forthwith. Dismiss your attendant there, look 't be done." Here, Othello is insisting that Desdemona goes to bed. This is important, as it set's the scene for later on when Othello will come to strangle Desdemona in her own bed. Modal verb - "So WOULD not I. My love doth so approve him That even his stubbornness, his checks, his frowns." (Desdemona, near line 20). Here, Desdemona is very clear that she still loves Othello, and that she will not led his rude behavior ruin her love for him. Act 5.1 Epistemic modality - "'Tis he. Oh, brave Iago, honest and just, That hast such noble sense of thy friend's wrong!" (Othello, near line 30). Here, Othello is clearly very sure that Iago has attacked Cassio as planned, and clearly still thinks of him as being very honest and brave. Iambic Pentameter - "That thrust had been mine enemy indeed But that my coat is better than thou know'st I will make proof of thine." (Cassio, line 25). Adjacency pairs - This act is quite unusual, as adjacency pairs is not really used. This is because the scene is very chaotic and a lot happens, meaning the characters talk over each other and do not really listen to and appreciate each other's speech. This chaotic language can be seen on pages 3,4 and 5. Act 5.2 Felicity condition - There are several felicity conditions in this act. Othello has to believe that Desdemona is guilty of her alleged infidelity in order to express his hate towards her and kill her. Emilia has to see Desdemona dead on the bed in order to show her remorse and anger towards Othello. Her and Cassio also have to be present in order for Othello to find out the truth about the handkerchief ("She give it Cassio? No, alas, I found it And I did give 't my husband," and "I found it in my chamber, And he himself confessed but even now That there he dropped it for a special purpose Which wrought to his desire.") Finally, Othello has to learn that he was in fact wrong about Desdemona's infidelity in order for him to express his shame and for him to kill himself. Remember that A LOT OF THE LANGUAGE IN THIS EXTRACT IS FELICITOUS. Sentence type/function - "How came you, Cassio, by that handkerchief That was my wife's?" Interrogative from Othello. Shows that he is starting to believe that he is wrong. Modal verb - "This sight would make him do a desperate turn, Yea, curse his better angel from his side And fall to reprobation." (Gratino, line 220). Here, Gratino is saying how Desdemona's father Brabantio would definitely find the sight of Desdemona dead appalling.

AO's to focus on in the exam

AO1, AO2 and AO3 will be required in the exam. AO1 is 15 marks AO2 is 20 marks AO3 is 10 marks AO1 is looking at the terminology and applying concepts and methods with coherent written expression. AO2 is analysing the ways in which meanings are shaped in the text and demonstrating understanding of the significance and influence of the contexts in which texts are produced and received. AO3 includes looking at the text as scripted interaction, thinking about pragmatics such as where the dialogue is taking place and what time of day it is, thinking about social context such as power and status, thinking about race, linking to Shakespeare's use or divergence from conventions of tragedy, and referring to literary criticism. This is the context of the play. The more simple way of describing the AO's are: AO1 - Apply Lang Lit concepts and methods using the right terminology and accurate written expression. AO2- Analyse the way meaning is shaped through form, structure and language. AO3- Consider the importance of the context in which the text was written and received.

Politeness strategies and how they can applied to Othello

Being polite in spoken discourse means being mindful of other's personal/face needs. An individual has both positive and negative face needs. Positive face needs are those associated with feeling appreciated and valued, while negative face needs are the desire to feel independent and not be imposed on. Interactions between people therefore have the potential to be face-threatening acts (an act which challenges the face wants of an interlocutor). Ways politeness strategies can be used in a negative way include issuing a straightforward face threatening act, using a politeness strategy that addresses said person's positive face needs first, using a negative politeness strategy that addresses said person's negative face needs and using an indirect request that avoids being explicit and therefore tries to minimise any threat to face. THINK OF TRAIN EXAMPLE There are a number of impoliteness strategies, including: -Dismissals -Silencers -Threats -Condescension -Insincere politeness/ sarcasm -Non-verbal gestures -Full on impoliteness where the rudeness is explicit and directly face-threatening. When looking at extract from Othello, try to pick out specific politeness or impoliteness strategies from the text. Also look for potential face-threatening acts, when one character is being threatened verbally by another. Remember this can be through one character not feeling appreciated or valued by another ( threatening positive face needs) or one character being made to feel as if they are not independent and free (threatening negative face needs). State specifically where these examples are within the play, and use the term "threatening positive/negative face needs." For example, "Here, Iago is clearly threatening Othello's positive face needs."

Feedback on assessments

FIRST ASSESSMENT- Explore how and why Shakespeare presents manipulative behaviour at different parts of the play: Teacher said it was a thorough essay which showed a detailed, analytical understanding of how manipulation is presented. However, I need to make more CONSISTENT USE OF CONTEXT. There were opportunities in the essay where I could have expanded more and referenced more to context. I need to make sure to consistently provide quotations to support the point that I am making. I also need to take care to analyse each piece of language that I mention, AS OPPOSED TO JUST DESCRIBING IT. Remember to always give examples. The question that I was told to expand on was the views on people from Othello's race at the time. SECOND ASSESSMENT - Explore how and why Shakespeare presents relationships between men and women at different points in the play: Teacher said there was a clear appreciation of context which has clearly informed my interpretation of the play. However, I have to ensure to analyse all the quotations that I include, using terminology and applying theories that I have covered in class. This was also an issue in the first assessment, where I described language rather than properly analysing it. THIRD ASSESSMENT (MOCK) - Explore how and why Shakespeare presents manipulative behaviour at different parts of the play: Teacher said there was a good use of context in the answer. However, I need to improve more on adopting a close analysis, instead of just translating the lines. For instance "The adjective suggests..." rather than "This means that..." FOURTH ASSESSMENT - Explore how and why Shakespeare presents power at different points in the play Teacher said that I have a very good understanding of how the theme of power fits into the play as a whole and how it effects the presentation of characters and their relationships. To improve I need to make sure to embed specific language features in all my analysis of themes/ideas, such as talking about the connotations of words in a quote. Make sure to use / to signify a change in line in a quote. Also make sure to explore various interpretations of the play. FIFTH ASSESSMENT - Explore how and Shakespeare explores love at different points in the play Mark: 27/45 Teacher said that the essay was well constructed, and takes into account Shakespeare's overall message and how the way that different characters and relationships change and develop contribute to this. However, I need to use a little more terminology/theories within analysis. Also, I need to be clear on how to use felicity conditions. For felicity conditions you need to mention what needs to be in place for a speech act to be felicitous. Felicity conditions should be applied to speech acts and not extracts in general. Also, try and link to genre context as well as just historical context.

Politeness strategies in Act 4 Scene 3

Most of these take place on the first page of Act 4 Scene 3: "O, pardon me," - Othello page 1 - threatening positive face needs "Madam, good night. I humbly thank your ladyship," - Lodovico page 1 - conforming to positive face needs "Your honour is most welcome," - Desdemona page 1 - conforming to positive face needs "We must not now displease him," - Desdemona page 1 - negative face needs "Come, come, you talk," - Emilia page 2 - threatening positive face needs "Dismiss your attendant there. Look't done," - Othello page 1 - dismissal (impoliteness strategy) "No, unpin me here," - Desdemona page 2 - silencer (impoliteness strategy) TRY AND USE AT LEAST ONE OF THESE IN THE EXAM