DOI: 10.12688/f1000research.190656.1 ISSN: 2046-1402

Intertextual Reimagining of Desdemona: Feminist Revision, Postcolonial Memory, and Shakespearean Adaptation

Majed Al-Anzy, Ayman Elhalafawy, Eman Darwish, Mohammed Abou Adel, Ahmad Al Mahamed, Samir Khalifa
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Background In an age increasingly concerned with gender justice, racial memory, and the decolonization of literary canons, Shakespeare’s Desdemona remains a critical site for rethinking how women’s voices are silenced, revised, and restored across cultures and historical moments. This study examines the intertextual reimagining of Desdemona in William Shakespeare’s Othello , Toni Morrison’s Desdemona , and Paula Vogel’s Desdemona: A Play About a Handkerchief , arguing that these works should not be read as isolated dramatic texts but as a tri-textual field of feminist revision and postcolonial critique. Addressing a gap in previous scholarship, which has largely treated Morrison’s and Vogel’s adaptations separately, the article offers a theoretically grounded comparative reading that brings the three plays into dialogue. Methods Methodologically, the study employs qualitative intertextual analysis and close reading, drawing on Julia Kristeva’s intertextuality, Gérard Genette’s hypotext/hypertext model, Adrienne Rich’s feminist re-vision, Linda Hutcheon’s theory of adaptation, and Chandra Talpade Mohanty’s postcolonial feminism. It shows how Morrison and Vogel transform Desdemona from a passive, silenced figure within Shakespearean tragedy into a complex site of agency, resistance, memory, and feminist critique. Results The findings reveal that Morrison restores Desdemona’s voice through purgatorial self-knowledge, Barbary’s recovered Black female memory, and cross-racial solidarity, whereas Vogel uses parody, class consciousness, sexual agency, and chamber-space disruption to dismantle patriarchy. Conclusions This study has re-framed the problem of Desdemona’s representation not as a question of character revision alone, but as a broader inquiry into how canonical drama can be reread, contested, and politically reactivated through feminist and postcolonial intertextuality.

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