Renaissance Deepfake and the Duping of Othello: Iago as Archimago.
This article proposes that the sexually explicit illusions counterfeited by Spenser's enchanter Archimago and Shakespeare's slanderer Iago, while grounded in early modern debates about idolatry and morality, disturbingly prefigure contemporary anxieties about pornographic deep-fakes. After examining...
| Publicado en: | Journal for Early Modern Cultural Studies Vol. 24; no. 1/2; pp. 101 - 133 |
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| Formato: | Artículo |
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University of Pennsylvania Press
Winter/Spring2024
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=190283701&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 190283701 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 15310485 DBLW jtl: Journal for Early Modern Cultural Studies issn: 15310485 maglogo: N pubinfo: dt: Winter/Spring2024 vid: 24 iid: 1/2 pid: 4636 pub: University of Pennsylvania Press artinfo: ui: 190283701 ppf: 101 ppct: 32 formats: fmt: – @attributes: type: T – @attributes: type: P size: 3.9MB tig: atl: Renaissance Deepfake and the Duping of Othello: Iago as Archimago. aug: au: Borlik, Todd Andrew su: Deepfakes Pornography Shakespeare, William, 1564-1616 Libel & slander Media literacy Optical illusions Tragedy (Drama) Renaissance sug: subj: Deepfakes Pornography Shakespeare, William, 1564-1616 Libel & slander Media literacy Optical illusions Tragedy (Drama) Renaissance keyword: AI Deepfake Digital Humanities Digital Skepticism Gender Illusionism Italian Renaissance Race Shakespeare Skepticism Spenser Trompe l'oeil Visual Culture Voyeurism ab: This article proposes that the sexually explicit illusions counterfeited by Spenser's enchanter Archimago and Shakespeare's slanderer Iago, while grounded in early modern debates about idolatry and morality, disturbingly prefigure contemporary anxieties about pornographic deep-fakes. After examining invocations of Shakespeare in current handwringing over deepfake, the article reveals that Othello responds to similar moral and epistemological apprehensions among Shakespeare's contemporaries—most notably Spenser—spawned by trompe l'oeil and erotica from Renaissance Italy, as well as by cross-dressing on the Renaissance stage. Shakespeare's tragedy interrogates the power of representational technologies (such as visual art, theater, costume, cosmetics, and language itself) to objectify and falsify the bodies of both women and racial others, reinscribing them within a libidinal economy that subjects them to "sadistic voyeurism." Spenser and Shakespeare's canny entraining of readers to resist the erotic forgeries of Renaissance media provides a model for an engaged pedagogy that could help foster digital skepticism among twenty-first century students. This article proposes that the sexually explicit illusions counterfeited by Spenser's enchanter Archimago and Shakespeare's slanderer Iago, while grounded in early modern debates about idolatry and morality, disturbingly prefigure contemporary anxieties about pornographic deepfakes. After examining invocations of Shakespeare in current handwringing over deepfake, the article reveals that Othello responds to similar moral and epistemological apprehensions among Shakespeare's contemporaries––most notably Spenser––spawned by trompe l'oeil and erotica from Renaissance Italy, as well as by cross-dressing on the Renaissance stage. Shakespeare's tragedy interrogates the power of representational technologies (such as visual art, theater, costume, cosmetics, and language itself) to objectify and falsify the bodies of both women and racial Others, reinscribing them within a libidinal economy that subjects them to "sadistic voyeurism." Spenser and Shakespeare's canny entraining of readers to resist the erotic forgeries of Renaissance media provides a model for an engaged pedagogy that could help foster digital skepticism among twenty-first century students. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Copyright of Journal for Early Modern Cultural Studies is the property of University of Pennsylvania Press and its content may not be copied or emailed to multiple sites without the copyright holder's express written permission. Additionally, content may not be used with any artificial intelligence tools or machine learning technologies. However, users may print, download, or email articles for individual use. item: Journal for Early Modern Cultural Studies holder: University of Pennsylvania Press dt: @attributes: year: 2024 holdings: @attributes: islocal: N |
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