Double Standards In Alan Sinfield's Othello '

My analysis extends here to the question of legitimacy; the border between good and bad citizen; to the double standards in dealing with subjects. Such notion denotes that even villains are at times and under certain conditions indispensable as long as they serve the purpose of the state. Alan Sinfield brings this idea to its ultimate utility in the discussion of Othello both as an outsider and noble. He asserts: "In respect of murdering state enemies, at least, he [Othello] was a good citizen" ("Faultlines" 34), and even "more by accepting within himself the state's distinction between civilized and barbaric." That is to say, when he brings to fore "the barbaric beneath" and murders Desdemona, he culminates the action by attempting suicide to eradicate "the

Dickens] contribute to the contest to make some stories, some representations, more plausible than others" (26). In response to this condition, our resorts is to Walter Benjamin advice that "cultural treasures [such as Great Expectations] are usually a principal feature of triumphal processions [i.e. to advantage by state a specific way respecting the wellbeing of society over others]; it is our task to resist this parading" (qtd. in Sinfield, "Faultlines" 26). In other words, one enterprise of cultural materialism is against turning literary men into what Walter Benjamin calls 'cultural treasures.' Since it is through them that some oppressive stories of civilization becomes plausible. Thus, to use the same wording by Alan Sinfield in reference to Great Expectations, what we make of Dickens' is important because it affects what he makes – unintentionally in my view- of us. Therefore, in dealing with the novel the question arises why Magwitch's enterprise in making of Pip a "better gentleman than the whole kit on [i.e. kind of] you [London genteel] put together" (304) should not