Othello is referred to as a "Barbary horse" () and a "lascivious Moor" (). In he denounces Desdemona's supposed sin as being "black as mine own face." Desdemona's physical whiteness is otherwise presented in opposition to Othello's dark skin: "that whiter skin of hers than snow." Iago tells Brabantio that "an old black ram / is tupping your white ewe" (). In Elizabethan discourse, the word "black" could suggest various concepts that extended beyond the physical colour of skin, including a wide range of negative connotations.  
Intentionality - "is at the heart of knowing. We live in meaning, and we live 'towards,' oriented to experience. Consequently there is an intentional structure in textuality and expression, in self-knowledge and in knowledge of others. This intentionality is also a distance: consciousness is not identical with its objects, but is intended consciousness" (quoted from Dr. John Lye's website - see suggested resources below).
Shakespearean Tragedy has been reprinted more than two dozen times and is itself the subject of a scholarly book, Katherine Cooke's A. C. Bradley and His Influence in Twentieth-Century Shakespeare Criticism .  By the mid-twentieth century his approach became discredited for many scholars; often it is said to contain anachronistic errors and attempts to apply late 19th century novelistic conceptions of morality and psychology to early 17th century society. Kenneth Burke 's 1951 article "Othello: An Essay to Illustrate a Method"  counters a Bradleyan reading of character, as L. C. Knights had earlier done with his 1933 essay "How Many Children Had Lady Macbeth?" (John Britton has pointed out that this was never a question actually posed by Bradley, and apparently was made up by F. R. Leavis as a mockery of "current irrelevancies in Shakespeare criticism."  ) Since the 1970s, the prevalence of poststructuralist methods of criticism resulted in students turning away from his work, although a number of scholars have recently returned to considering "character" as a historical category of evaluation (for instance, Michael Bristol). Harold Bloom has paid tribute to Bradley's place in the great tradition of critical writing on Shakespeare: 'This [Bloom's] book – Shakespeare: the Invention of the Human – is a latecomer work, written in the wake of the Shakespeare critics I most admire: Johnson, Hazlitt, Bradley.'  There has also been a renewed interest in the German idealist philosopher Hegel, who influenced Bradley's theory of tragedy.