You do not currently have permission to view the full text for this document. Please sign in to an account with an active subscription or contact support.
(Accepted for publication 3 October 2012)
In this paper I explore how projective identification is depicted in Shakespeare's Othello (1603-4 [2006]) and in Verdi's Otello (1887). Both the play and the opera can be seen as studies in projection - in the evacuation into others of feelings that the subject finds unbearable, such as envious and jealous exclusion or unbearable sexual excitement. The essential issue is the same in both the play and the opera, which is that the very sight of love between Othello and Desdemona, or of contentment in anyone's mind, drives Iago mad with envy and jealousy, which he has to expel and project into others, particularly into Othello, who is susceptible to this attack because of his own narcissistic vulnerability. I take two episodes, which appear in both the play and the opera, to explore in detail how projective identification is represented both verbally and musically. I suggest that music, and words used musically, are particularly suited to conveying complex inter- and intra-personal processes such as projective identification.