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During Ariel's pineaceal confinement, merged unwillingly into arboreal space-time, Ariel's experience of time via Sycorax I approximates i twelve years, with the imprecise "dozen years" of Prospero's description indicating estimation: Ariel's arborealization sways, as the lunar calendar sways, somewhere between twelve and thirteen, sometimes a dozen, sometimes a baker's dozen. Ariel himself acknowledges his other-than-human status when he addresses Prospero with the conditional statement, "Were I human" (Shakespeare, I Tempest i 5.1.19) But, as B. J. Sokol observes, Ariel possesses a "peculiar materiality" that argues against "a notion of Ariel as a psychomantic representative of pure thought or disembodied imagination" (178). In its representation of Ariel's time on the island, I The Tempest i projects a past, present, and future based on a duodecimal system that mirrors humans' attempted division of the year into twelve months (based on the lunar cycle) and attempted division of the day and night into twelve hours each.[31] Although Prospero frees Ariel from his vegetal prison, he effectively assumes the same master-slave relationship toward Ariel that Sycorax commanded previously, exploiting Ariel for his magical labors. [Extracted from the article]

The article discusses how the Bengal Delta in South East Asia may have influenced the setting of William Shakespeare's 1611 play "The Tempest." Topics explored include the travel memoirs which may have been used by Shakespeare as source material for his work, the spatial reimagining of the remote island featured in the play, and the publication of Cesare de Federici's travel account "Il Viaggio nell'India Orientale et oltra l'India" in 1588.

In Shakespeare's The Tempest, Caliban says, "I do not lie" (III.ii.47). The meaning of this line is interesting to unpack because Prospero defines Caliban as a "poisonous slave, got by the devil himself/Upon thy wicked dam" (I.ii.319.320). The status of Caliban as half-devil/half-witch beast is complicated by John Dee's A Treatise on Angel Magic, in which angels, demons, and devils are categorized and defined through their actions and language, including their lies. The use of this text adds an important dimension in understanding Caliban, his counterpart Ariel, and the truth value of their language in the text. [ABSTRACT FROM AUTHOR]

The article examines the play "Tempest" by William Shakespeare, particularly on whether the word used in line 1786 should be 'wife' or 'wise.' Also cited are the move by Nicholas Rowe to emend the line in 1709 to use 'wife,' the analysis by Jeanne Addison Roberts of the editorial history of the work in her 1978 article "'Wife' or 'Wise'--The Tempest l. 1786," and Peter W. M. Blayney's opposition of Roberts' findings.

This article analyses the filtering of Shakespeare's The Tempest (1611) in the Restoration drama repertoire, showing the Restoration revision of the Shakespearean stereotypical delineation of the 'half-moor' Caliban in the light of Restoration England's complex relations of admiration and trepidation with regard to the Muslim Moors and Turks. Dryden-Davenant's The Tempest or The Enchanted Island (1667) complicates the figures of Caliban and Sycorax as Muslim Moorish friends or foes and possible subjects of Charles II's English Tangier on the Barbary coast. Dryden-Davenant's The Enchanted Island makes historical parallels and allusions to Charles II's marriage to the Portuguese Catherine of Braganza and the English possession of Tangier as a part of the marriage dowry. [ABSTRACT FROM AUTHOR]

The article focuses on providing a fuller account of the Tempest, a play written n by William Shakespeare, by minimizing catastrophes at Jamestown, Virginia. Topics discussed include the episode of mass starvation during the winter of 1609–1610 as a direct consequence of the Bermuda shipwreck, financial and reputational crisis and optimistic theatrical vision of colonialism.

The article pays attention to early modern magical practices through "The Tempest", a play by English playwright William Shakespeare. Topics discussed include proliferation of magical practice manuals across early modern Europe, mechanisms of magician Prospero's magical practice in the play and Prospero's connection with contemporary magical practice.

Poe's 'The Masque of the Red Death' turns on the paradox of a privileged elite succumbing to a plague that is ravaging society at large, and from which they believe themselves completely protected. The horror of the story consists not in the devastation of external society – that is taken for granted – but in the abject failure of the elite's supposedly impregnable defences, their faith in which is exposed by the 'Red Death' as utterly delusory. 'Put not your trust in Princes' (Ps. 146.3) takes on an entirely new meaning. [ABSTRACT FROM AUTHOR]

Like all art, movies are a representation of the society and vice versa. Among other things, movies entertain, educate, and inspire us, giving us role models or themes to follow. Accordingly, the ingredients that go into the making of a movie need to agree with and appeal to the cultural ethos of the viewers it is intended for. In book adaptations of movies, the very multiplicity of readings renders a variety of meanings to a text, giving it dimensions that were perhaps not envisaged by the original writer. This paper is an extended discussion and examination of kinds of alterations seen in two adaptations of Shakespeare’s play, The Tempest: The Forbidden Planet in (1956) as directed by Fred Wilcox, and The Tempest in (2010) as directed by Julie Taymor. These two versions are set apart by almost six decades, yet what brings them in close proximity is their interest with gender roles and their portrayal. These are tackled very differently as where the former tends to stay close to the mores of a male centric American society of 1950s while at the same time giving the viewers a good dose of a newfound love of science fiction, the latter indulges in completely feministic fantasy with a central figure like Prospero being portrayed as a female. Although the two versions can be compared and contrasted on many counts apart from this centrality, for ease of inquiry the current discussion was more focused on the representations of the main characters, Caliban, Ariel, and Prospero and their varied physical characteristics from one film to the other. This study examined the verbal and physical adaptations of these characters as mediums of interaction with the viewers throughout the showing mode. The study finally shines the spotlight on the contemporary political issues that are represented in yet another version of the same play, Prospero’s Books (1991). The study argues that The Tempest, in each of these film versions, represents different cultural agendas. [ABSTRACT FROM AUTHOR]

Just like Aimé Césaire's Une tempête, Esiaba Irobi's Sycorax is a parallel narrative of Prospero's encounter with characters of other skin colour and gender. Both plays, like many others, represent successful efforts in countering the hitherto master narrative, Shakespeare's The Tempest. They speak back to and destabilize it through different versions that, at once, query and mitigate Shakespeare's. Using the idea of counter-narrative and writing back, Sycorax is interrogated here through textual analysis and selective close reading with a view to examining its exhumation and foregrounding of the silences, elisions, and under- or misrepresentations of The Tempest. With a highly provocative diction — Irobi's language is sexually explicit, violent, abusive, and unsettling — and experimental, somewhat postmodernist, dramatic structure, Sycorax intertextually dramatizes the issues of race, enslavement, colonial domination, migration, and gender as well as sexuality. Its relocation of action from the Mediterranean to the Caribbean; resurrection of Sycorax; Caliban's able-bodiedness, revolutionary zeal, vociferousness and change of name to Caribbean; Ariel's piebald sexuality as a bisexual hermaphrodite with the liberty to jump from Prospero's bed to Sycorax's; and the questioning of Shakespeare himself to answer for his (mis)representations; all exemplify Irobi's redirection of action and the emergence of new protagonists out of the characters of The Tempest. This article sees Sycorax as part of the work of formerly-colonized writers and artists now engaged in the process of redefining their people, identity, and cultural realities in the face of the preponderant assault of more powerful cultures and narratives that often garble them. Irobi's politically incorrect, troubling, and highly charged play thus expresses the angst of finding oneself vilified simply on the basis of race, body, or sexuality. [ABSTRACT FROM AUTHOR]

This essay will assess the extent to which screened broadcasts of Shakespeare plays in Hong Kong contribute to a sense of cosmopolitan cultural identity in the city, and engage with current issues and events, as Shakespearean presentist theory argues. I will discuss how this relatively recent digitally mediated traffic in transnational Shakespeare, functioning as it does as a simulacrum of the physical theatre-going experience, resonates with the sociocultural ethos of Hong Kong. Like the asynchronous – as opposed to simulcast – theatre broadcast of Western Shakespeare, the time seems palpably "out of joint" to many residents of the city. A major factor affecting the continuation of Hong Kong's hitherto rich cultural life is the rapidly accelerating erosion of its autonomy and supposedly guaranteed civic freedoms, following Beijing's imposition of sweeping national security legislation. The essay discusses the significance of Shakespeare theatre broadcast in this highly charged political atmosphere in Hong Kong, with its dwindling, but stubbornly residual, cultural links to the country of the dramatist's birth. The second part will explore the local resonances of four broadcast theatre productions of Shakespeare plays in Hong Kong, Coriolanus and Hamlet (both NT Live) and The Tempest and Titus Andronicus (both RSC Live). [ABSTRACT FROM AUTHOR]

In this paper, we report data from the first national survey of secondary Shakespeare teaching in the UK, conducted online in 2017–18 with a sample of 211 teachers distributed through England, Northern Ireland, Scotland and Wales. We report on what is taught and why. Our survey shows that the most popular play in the UK is Macbeth, which is one-fifth of all Shakespeare teaching instances in our sample. At age 11, A Midsummer Night's Dream and The Tempest dominate, while at A level A.C. Bradley's "big four" – Othello, Hamlet, King Lear and Macbeth – are the most popular. Reasons to teach certain texts related to clear plot, themes and good characters for analysis; aside from the play's characteristics, whether or not there were copies of the text in school was the major deciding factor in what to teach, along with the existence of supporting resources. [ABSTRACT FROM AUTHOR]

The article reviews a theatrical production of William Shakespeare's "The Tempest," directed by Ian Russell for screen and directed for the stage by Jeremy Herrin at Shakespeare's Globe in London, England in May 2013 and from April 23 to August 22, 2020.

The article proposes the role of an essay by philosopher Plutarch on the island of Saturn as a source for the play "The Tempest" by William Shakespeare. The popularity of essays by Plutarch during the lifetime of the playwright is noted. It cites the similarities between the inhabitants of the island and a passage in the play. It describes the depiction of Carthage in the play and in the essay.

The article discusses the theatregram created by playwright William Shakespeare in his play "The Tempest" to invoke a topsy turvy grotesque motif to define his character named Caliban. Also cited are the interpretation by critics like Michael Baird Saenger and Richard Burbage of Caliban's visual appearance, and the reasons why "grotesque" is a fitting description of the character.

A literary criticism on play The Tempest by William Shakespeare is presented which establishes connection between commonplace shaping discussion on the same. story of both Latin etymologies tempestas and tempus has been unfolded in the story of the play. It also mentions documents of the play to interpret concern with colonization.

A literary criticism of the play "The Tempest" by William Shakespeare, is presented. It mentions which seeks to produce and control nation with opposed Caliban's counter-sovereignty. It also mentions participation of the Tempest in discourse about agricultural labor in expanding transatlantic world.

Copyright of Das Achtzehnte Jahrhundert is the property of Wallstein Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses two post-1989 adaptations of Shakespeare’s The Tempest in the Polish theatre that use text distortion, fragmentation, and intertextuality as ways of addressing the difficult heritage of World War II. Applying the notion of migratory aesthetics in a theatrical context mobilises the interpretive potential of contemporary theatre as an act of recalling a traumatic past. Generational trauma is addressed and processed through the productions of Krzysztof Warlikowski’s Burza (2003) and Paweł Miśkiewicz’s more recent Burza Williama Szekpira (2018). These two productions are analysed according to strategies typical of traumatic recall, i.e., dissociation and repression, to reflect on the dystopian elements in The Tempest, aspects already addressed by Jan Kott in his pre-1989 interpretations of the play. [ABSTRACT FROM AUTHOR]

The article reviews the revival of Shakespeare's play "La Tempête" translated by Jean-Claude Carrière and Directed by Robert Carsen performed by Georgia Scalliet and Christophe Montenez at Salle Richelieu in Paris, France from December 9, 2017-May 21, 2018.

The article discusses some undeciphered ribaldry in William Shakespeare's play "The Tempest." Topics include a brief overview of a scene in the play involving the villains Sebastian and Antonio, the villains' reaction to the phrases "Widow Dido" and "Widower Aeneas," and the suggestion that the exchange between the villains is a sequential pair of rude, elaborate puns with some theatrical scaffolding to make them work.

The article presents the theatrical performance of Jan Akers "The Tempest" where Vanessa Redgrave playing the role of cross-gendered Prospero for the Georgia Shakespeare Festival.

Employing an interdisciplinary sociopolitical framework, I examine Philip Osment's play This Island's Mine (1988) and demonstrate how it interrogates and repudiates Margaret Thatcher's neoconservative authoritarian populism. Specifically, I argue that Osment's play constitutes not only a damning indictment of Thatcherism, but also an enduring work that speaks directly to our present sociopolitical conjuncture, which has witnessed varied forms of reactionary populism sweep nations throughout the international community. [ABSTRACT FROM AUTHOR]

The article talks about the first song in "The Tempest," a play by William Shakespeare, probably written in 1610-1611, which begins at 1.2.520 and ends before the burthen's response at line 525. Topics covered include the content of the song that is thematically related to that of the next one immediately following in the same scene, and how the crowing by the named rooster, strutting Chanticlere distinguishes this first song from the other four songs of the play.

A literary criticism of the play "The tempest" by William Shakespeare is presented. It highlights about the interpretation of the play as an allegory of British colonialism and slavery in the Americas. It examines strategic prejudicial narratives intended to provide false justifications for European colonialism and transatlantic slavery. It reveals a lack of evidence of Caliban's purported guilt.

A literary criticism of the play "The Tempest" by William Shakespeare is presented. It examines the power of locational awareness as tackled in the play which was historically placed within the geopolitics of the English empire. It also explores the importance of the protection of locational data as an emerging subject within U.S. case law due to the intrusion of private entities into private lives.

The article reviews a theatrical production 'The Tempest' by Creation Theatre and Big Telly from April 11–May 10, 2020.

This paper examines a number of contemporary adaptations of The Tempest - Fred McLeod Wilcox's Forbidden Planet (1956), Peter Greenaway's Prospero's Books (1991) and Margaret Atwood's Hag-Seed (2016) - which indicate new avenues for exploring the phenomenon of past-and-present re-bonding through re-telling. If adaptation theory suggests, at its best, that an adaptation may encourage the public to read the adapted text, if unfamiliar, as Linda Hutcheon argues, these particular adaptations of Shakespeare's play, I contend, take a step forward. Not only do they spur their readers/spectators on to (re)- read The Tempest, but they elicit (re)considering the relationships amongst (certain of) Shakespeare's plays. It is what happened to this author too whilst reading Hag-Seed, even before reaching the page where Atwood's protagonist - Felix qua Prospero actor and figure - contemplates the opportunity offered by mounting The Tempest to unmask his usurpers. "The play's the thing", Felix thinks in Hamletian terms, allowing the readers familiar with Hamlet to complete mentally "wherein I'll catch the conscience of the king". More than being Shakespeare's swan song, as typically regarded, The Tempest thus becomes the metatheatrical light on Hamlet's own metatheatricality - also courtesy of the former's adaptations. [ABSTRACT FROM AUTHOR]

The article reviews several William Shakespeare plays, including "Twelfth Night," directed by Joyce Branagh and starring Alex Phelps, "Hamlet," directed by Damian Cruden, and "The Tempest," directed by Philip Franks, performed at Shakespeare's Rose Theatre in England in August 2019.

The article reviews a play The Tempest presented by Seattle Shakespeare Company at the Center Theatre, Seattle from October 12-November 10, 2019 and directed by Annie Lareau.

This article examines Catherine Eaton's The Sounding (2017). It uses the polarized critical interpretations that have emerged in response to Isabella's wordlessness in Act 5 of Shakespeare's Measure for Measure as a useful set of lenses for considering the non–normative communication strategies employed by Liv, the female protagonist in this cinematic adaptation of The Tempest. Orphaned as a child, the thirty-something Liv has been brought up in relative isolation on an island off the coast of Maine by her doting (and overtly Prospero-like) grandfather Lionel, a retired psychiatric professional. Though well-read, quick-witted, and the cultural beneficiary of her grandfather's careful tutelage, from childhood, Liv has not spoken. When she finally breaks her long years of verbal silence on foot of Lionel's death partway through the film, Liv's output proves to be exclusively limited to Shakespearean quotations – much to the consternation of her emergent love interest Dr. Michael Lande. Focusing on the gender politics of silence, quotation, audibility, and canonicity in Eaton's film, the article queries, in turn, whether Liv's storyline in The Sounding is best understood as a tale of linguistic resistance and empowerment or as one of inarticulacy and patriarchal domination. [ABSTRACT FROM AUTHOR]

There are many references to reading, and some to writing, in Shakespeare's plays; a list is provided in an Appendix. They are analysed for what they reveal about the social status of literacy in Shakespeare's day, and the references to reading are analysed further according to oral v. silent reading, and whether characters have company on stage, or are (or believe themselves to be) alone. Only a few characters are depicted as illiterate, sometimes for comic effect, more often for purposes of the plot. All persons of rank, and most others, are depicted as literate. It seems that in Shakespeare's time, even among the highly educated, the practice of oral reading for varied purposes, even when alone, was still alive. One effect was, serendipitously, to give Shakespeare the freedom to manipulate reading practices plausibly, and brilliantly, for his own purposes. [ABSTRACT FROM AUTHOR]

As part of the response in the humanities to rising concerns of the human influence on the Earth system, ecocriticism – an interdisciplinary approach to the study of literature focused on ecological and environmental concerns – became a major trend in literary and cultural studies by the first decade of the twenty‐first century. This period also witnessed an increase in ecocritical studies of Shakespeare's works, which have continued to proliferate. It is timely therefore to consider those individual works that have interested ecocritics and featured in ecocritical studies. This article will provide just such a consideration of Shakespeare's final play, The Tempest (1611), providing a critical review of the play's ecocritical studies thus far, and drawing attention to central ideas and common themes in the process. Finally, the article offers its own ecocritical analysis of the play, based on historical accounts of a catastrophic tidal event that took place in south‐west England, in 1607. [ABSTRACT FROM AUTHOR]

A literary criticism is presented for William Shakespeare's" "The Tempest". It outlines the exploration of race and enslavement continues to compel readers and playgoers to think through issues of privilege and the blind-spot, willful ignorance, and exploitation; and opens a space to think critically about the construction of whiteness in the play and in the Deep South.

In ordinary discourse, any excess of information leads to a high degree of redundancy that obstructs communication. Poetic discourse operates in a completely opposite way: its informational overload enriches meaning through an ambiguity of a particular kind. Shakespeare's work and personality thrive on poetic ambiguity, as seen not only in the authorship controversies perpetuated throughout centuries, but also in the construction of his artistic significations. This paper discusses some examples of discursive, structural and character opacities in Shakespeare's plays, beginning with the witches' equivocation in Macbeth and ending with Caliban's problematic monstrosity in The Tempest. My analysis reveals that Shakespearean ambiguities are most efficient vehicles for the communication of complex, universally relevant meanings and dilemmas. [ABSTRACT FROM AUTHOR]

The article highlights the dramatic manuscripts across early modern Europe that has remained traditional within specific regions. Topics include Ferdinando Neri's claim that Shakespeare's The Tempest was in fact based on some manuscript "scenari" of Italian drama; the resemblance between the scenari and the English plots.

The article discusses works of late 20th century English literature. Topics include the consideration of early modernity as a period of global integration; that the essay "Of the Caniballes" has influenced English dramatic romance such as Samuel Daniel's The Queen's Arcadia and Shakespeare's The Tempest; and the textual forms of the English language.

Copyright of Odisea is the property of Revista Odisea and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Postmodernism offered the context for feminist and postcolonial writers to challenge the canon, by rewriting canonical texts from fresh perspectives or by filling the gaps, voicing the silences and narrating the untold stories. Such is the case of Marina Warner's novel "Indigo", a lyrical narrative that abounds in intertextual references to William Shakespeare's "The Tempest". I argue that Marina Warner uses female characters that in Shakespeare's play are either absent or simple pawns in the patriarchal game, to give voice to the enslaved natives and to the silenced women and to emphasize the importance of oral history. Marina Warner's novel is an invitation to look back in order to revisit history, to challenge it and/or to recover it through the act of storytelling. Moreover, storytelling also becomes the instrument that can help in constructing a better future. [ABSTRACT FROM AUTHOR]

In 1947 Leon Schiller staged The Tempest as his first post-war Shakespeare play. From today's perspective, his choice possibly reveals the intention to counter the harshness of post-war reality or to display a sense of an unbroken connection to pre-war efforts. However, the inherent utopianism of The Tempest coupled with all too fervent championing of his own theatrical theory laid bare the vanity of Schiller's endeavours. Furthermore, the new translation of the play turned out defective, as it was found to be coalesced with the 19th century canonical Polish version. Schiller's partisan aspirations raise additional doubts as to his motivations. Several central ideas of the play were lost in this staging, leaving one to doubt whether the utopic character of the play was been contaminated by the new hope the Soviet regime brought with it. Reviewing this production of The Tempest can provide insights into an interim period when cultural processes in Poland were moulding, a new Polish Shakespearean canon was but anticipated, and Kott's Shakespeare, Our Contemporary (1964) had yet to enter the stage. [ABSTRACT FROM AUTHOR]

The author suggests that the expression "into thin air" used by William Shakespeare in the play "The Tempest" was taken from Roman poet Virgil and his poem "Aeneid IV." Topics include the Oxford English Dictionary's acknowledgement of Shakespeare as the first to use the expression, the author's claim that Shakespeare may have been prompted by Virgil's line, and the reference of "The Tempest" to " Aeneid" from the opening pattern of storm and shipwreck to the extended banter about widow Dido.

This essay examines the scenes in Shakespeare's romances in which music has a healing and revitalizing power, but it also contains its own subversion. In Pericles, in the palace at Pentapolis, Pericles asks for a musical instrument, which he plays while he sings to himself. The wise doctor Cerimon revives Thaisa's apparently dead body with the help of music in Pericles. In the final reunion scene with his daughter, Marina, the music of her voice has healing power for her father. In The Winter's Tale, Hermione's apparently lifeless statue is brought to life while music is playing. Finally, The Tempest is one of Shakespeare's most musical plays, with songs and music and a masque reviving the action. Shakespeare used songs to establish the character or the mental state of the singer. Music and allusions to music in these plays' scripts can be interpreted as forms of indirect and covert propaganda, attuned to the politics of the time, but also as individual musical parts, in which music has healing power over the mind. They are like the music of the soul, suggesting interiority. Music is used, therefore, to achieve theatrical effect. [ABSTRACT FROM AUTHOR]