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This article examines Shakespeare's interest in masques and their impact on his plays, specifically The Tempest and The Winter's Tale. It delves into the controversy surrounding the antimasque in The Tempest and Shakespeare's perspective on masques and the absolutist ideology they promoted. The article emphasizes the significance of considering non-Jonsonian masques, like those by Samuel Daniel and Thomas Campion, in comprehending Shakespeare's involvement with masquing. It highlights the personal involvement of Shakespeare and his company, the King's Men, in producing masques and collaborating with the Master of the Revels. The text explores the influence of court masques on Shakespeare's plays The Winter's Tale and The Tempest, drawing parallels between Campion's masques and certain scenes in The Winter's Tale, such as the animation of Hermione's statue. However, it advises against assuming that Shakespeare endorsed Campion's views on royal pageantry and power. The text also mentions the impact of Jonson's masques on Shakespeare's plays and suggests that further research is necessary to fully comprehend Shakespeare's engagement with masques and their ideological implications. [Extracted from the article]

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Margaret Atwood's Hag-Seed, as a retelling of Shakespeare's The Tempest, employs a hybrid style of dramaturgical and performative writing in its novelistic narrative. From the dramaturgical framework that affords theatrical happenings to the ekphrastic recreation of theatrical liveness, it creates for the reader an embodied, lively, and intermedial reading experience. Thus, this article explores the intermedial poetics of Hag-Seed, focusing on its textual exploration of the theatrical form from different perspectives, and its situatedness in the Canadian theatre and adaptation context in parallel with the dance company Kidd Pivot and their 2011 production The Tempest Replica. Drawing on the intermedial genre of theatre-fiction, it seeks to address how the intermedial poetics of textual theatricality enacts the readers' embodied perception of theatrical liveness and explores the porous mediality of both novel and theatre. [ABSTRACT FROM AUTHOR]

This essay discusses how in Much Ado About Nothing, Measure for Measure, The Winter's Tale, and The Tempest, providential events that work over and above those plays' benevolent manipulators serve to help bring about these plays' comic endings in ways that transcend human control, both its well-intended aspects as well as its problematic aspects. These providential events also offer grace and mercy toward the plays' various transgressors who, demonstrating repentance, are freed from the justice their transgressions merit and are consequently granted hopeful futures. By contrast, in the tragedies Romeo and Juliet, Othello, and King Lear, acts of misfortune help aid the malevolent machinations of those characters that manipulate others for their own wicked ends. But these incidents of bad fortune are not sufficient to bring about tragedy, but rather act in conjunction with the stubborn and violent decisions of the tragedy's protagonists, whose poor choices coincide with unfortunate developments to bring about tragedy for the protagonists and those whom they love. This essay maintains that the workings of Providence in these comedies and romances is in keeping with the Christian grounding evident throughout Shakespeare's dramas, concluding that in a fallen world, tragedy is normative, whereas providential intervention is necessary for the happy endings of the discussed comedies and romances. [ABSTRACT FROM AUTHOR]

The article delves into the interpretation of Caliban's mention of "scamels" in Shakespeare's "The Tempest," suggesting it may be a textual corruption of "sea owl," a term used by William Strachey to describe a type of food in his narrative about Bermuda. Topics include the reinterpretation of "scamels," the ecological implications of Shakespeare's writing, and the cultural context of food in the play.

The article examines the dissociation of ravens from witchcraft and witches during the time of poet and playwright William Shakespeare, such as the raven's feather of the Sycorax in "The Tempest." Topics discussed include the magic power of the raven's feather in popular imagination, small and domestic animals as devilish companions and not ravens, crows as witchcraft-related black birds rather than ravens, and ravens as ominous harbinger of death rather than instrument of witchcraft.

This article examines the themes of service, slavery, and social hierarchy in Shakespeare's play "The Tempest." It argues that the play challenges traditional power dynamics and highlights the agency of characters like Ariel and Caliban. The article also discusses the social mobility and precariousness of the lower classes during the time period. Overall, the play exposes the instability of race and class discourse and the potential for resistance within the servant class. [Extracted from the article]

Copyright of British Journal of Canadian Studies is the property of Liverpool University Press / Journals 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 article discusses the connection between Chaucer's "The Franklin's Tale" and Shakespeare's play "The Tempest." It argues that Shakespeare drew inspiration from the magician character in Chaucer's tale when creating the character of Prospero. The article explores the similarities between the two works, particularly in terms of magic and stage directions. It suggests that Shakespeare repurposed certain elements from Chaucer's tale, such as the magician's hand-clapping gesture, in his own play. The article also highlights the importance of visual effects and stage directions in understanding the magic in "The Tempest." [Extracted from the article]

The article explores the thematic and symbolic connections between William Golding's 1964 novel The Spire and William Shakespeare's 1611 play The Tempest, highlighting how both works reflect their respective eras' colonial and psychological concerns. It argues that Golding's novel, through the character of Jocelin, mirrors Shakespeare's Prospero in its exploration of vision, power, and the legacies of imperialism.

Shakespeare's early Henry VI trilogy and late The Tempest both feature reclusive, bookish rulers who are deposed because their rivals perceive an opportunity in the rulers' trustingness and lack of interest in political affairs. Furthermore, the deposed rulers also share an interest in Platonic philosophies of the Renaissance; they differ, however, in their respective preferences for particular Platonist authors and writings. Henry VI is devoted to Boethius's The Consolation of Philosophy. While Prospero, the protagonist of The Tempest, may have focused on Boethius and similar authors when he was in Milan, by the time we meet him on his island, he prefers Neoplatonic magic, bequeathed to the Renaissance by Ficino. While the two stories are not often read together, I argue that doing so yields a fascinating contrast in the modes of existence dictated by different streams of Renaissance philosophical thought. While Henry VI's credulity and Boethianism lead him to express a preference for a contemplative life and to adopt an attitude of extreme passivity and surrender, Prospero's suspicion and powerful use of magic associate him with the active life. The ultimate expressions of Henry's preference for the contemplative life and of Prospero's association with the active life both involve nature poetry. Henry expresses yearning for the peaceful lifestyle of a shepherd in a pastoral lyric he delivers in 3 Henry VI, while Prospero celebrates human labor and achievement in a georgic masque which he produces. [ABSTRACT FROM AUTHOR]

The article reviews the Royal Shakespeare Company's production of William Shakespeare's "The Tempest," directed by Elizabeth Freestone, praising its environmental themes, grounded setting, and well-chosen cast, while noting some challenges in conveying its intended political philosophy.

Copyright of Toldo de Astier is the property of Universidad Nacional de La Plata 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.)

The article focuses on the exploration of power, collaboration, and labor networks in English playwright William Shakespeare's play "The Tempest." Topics discussed include the unequal distribution of knowledge and authority, coercive labor dynamics, and the complex relationships between characters as they contribute to the central theme of power in the play.

This article, titled "Introduction: Early Modern Affective Ecologies," explores the themes of interior and exterior, containment and exposure, and the relationship between humans and the natural world in William Shakespeare's play The Tempest. The article discusses how the play's opening scene, set on a ship in a storm, highlights these themes and how the theater and real life intersect. It also examines the connections between affect (emotions) and ecology (the environment) in early modern studies and ecocriticism. The article argues that the theater, particularly the commercial theater of late sixteenth- and early seventeenth-century London, is well-suited for exploring the interface between affect and ecology. The essays collected in this special section provide different approaches to understanding how affect and ecology influence each other, focusing on physics, scale, and performance. The authors argue for an affective-ecological approach that considers the connections and continuities between literal and figurative ecologies and the affective work they participate in. [Extracted from the article]

This article proposes that via its dense knot imagery and actions of (un)tying knots on stage, The Tempest offers metadramaturgic commentary on the playwright's task of (dis)entanglement, the skill of creating and resolving a complex dramatic action. Early modern tragedy and comedy theory derived from Aristotle's Poetics helps to understand how Prospero's magically devised play, to a degree congruous with The Tempest itself, in its tragicomic mode creates and partly unties an exquisitely tied knot. Rather than pursuing a purely formalist concern, my new formalist reading of The Tempest examines how the knot as an image-cluster itself ties together various early modern concerns, such as the knot knowledge of seafaring, the Tudor and Stuart predilection for knot gardens, bondage in the contexts of colonialism and European courts, mutual binding in the imagery of romance and marriage, and the practice of delivery as an untying of the child and its sublimation in discourses of science and magic. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Academic Social Science Studies is the property of Journal of Academic Social Science Studies 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.)

The article offers information on Margaret Atwood's novel "Hag-Seed," which is an adaptation of William Shakespeare's "The Tempest." It discusses how Atwood's adaptation explores the process and product of adaptation; emphasizing the relationship between the novel and the dramatic work; and also mentions Atwood's meta-adaptive approach and use of paratexts are highlighted as key elements in examining the complex nature of adaptation as both a creative process and a literary product.

The article review the performance focuses on the Shakespeare's Globe production of "The Tempest," directed by Sean Holmes, which raises important issues of overconsumption and colonialism through modern dress and creative theatrical spectacle.

In the aftermath of the storm in The Tempest, as Miranda suffers vicariously with the shipwrecked passengers, Prospero imposes meaning onto the environmental catastrophe. Imbricating maritime salvage, physical saving, and theological salvation, Prospero insists on a temporality of supersession in which catastrophe allows one political order to displace an older, corrupt paradigm. But the act of salvaging deepens Miranda’s erotic attachment to Ferdinand and complicates the social affiliations of the island. Alternately, Caliban, inverting the erotics of salvage, dramatizes how racialized perception saturates experiential encounters with the storm. [ABSTRACT FROM AUTHOR]

The article examines the connections between William Shakespeare's play "The Tempest" and Samuel Daniel's 1610 book "Tethys Festival." Topics include an argument that Daniel's work was a significant source for "The Tempest," an analysis of a contradictory command issued by Tempest protagonist Prospero suggesting that Ariel must adopt the shape of a sea-nymph whilst also turning invisible, and the possibility that the ladies wearing the shape of Nimphes in Tethys was based on nymphs of Tempest.

Katherine Schaap Williams's book, "Unfixable Forms: Disability, Performance, and the Early Modern English Theater," contributes to the growing scholarly conversation on representations of disability in early modern English theatre. The book argues that disability metaphors in these plays are unstable and function more as theatrical devices than as accurate representations of actual conditions. The book examines specific plays, such as Shakespeare's "Richard III" and "The Tempest," to explore how disability is portrayed and interpreted on stage. Overall, "Unfixable Forms" is well-organized and accessible, making it a valuable resource for scholars and students interested in early modern theatre and portrayals of nonstandard bodies. [Extracted from the article]

Comparing Hag-Seed with The Tempest, this article tries to disclose how Margaret Atwood shifts and extends perspectives in her novel by empowering the female voice in Hag-Seed. In contrast to Shakespeare's original and many of its postcolonial successors, the latter of which have sustainably promoted a political reading of the Bard's play, Hag-Seed, for instance, offers a treatment of Miranda that reverses the role of Prospero's daughter from a passive to an influential "active" character who has a decisive say in many of her father's doings. In a similar vein, other female voices in the novel come to the fore. These observations are accompanied by brief intertextual references to a painting by William Hogarth, created circa 1736, and Peter Greenaway's film Prospero's Books, released in 1991. The article shows how aesthetic forms of expression and political rhetoric are interlinked, especially how aesthetic and (gender-)political values interplay. [ABSTRACT FROM AUTHOR]

The Tempest is one of William Shakespeare's late romances, and it is widely regarded as a play about forgiveness and reconciliation. The Tempest is worth considering from a Buddhist point of view. This study aims to examine the four sublime states of mind or Brahma-viharas described by the characters in The Tempest from a Buddhist perspective: Metta (loving-kindness), Karuna (compassion), Mudita (sympathetic joy), and Upekkha (equanimity). The investigation is carried out by examining the characters in Shakespeare's The Tempest. It found that the four sublime states of mind were depicted in six characters. Prospero is the only character who possesses all four sublime states of mind. The other five characters share some of the characteristics of the four sublime states of mind. They are, however, portrayed as good characters in the play, and they all have happy lives at the end of the play. [ABSTRACT FROM AUTHOR]

Dream (and its derivative, dreaming) belongs to the ancient mythical background of cultures, taken over in literary structures with a revitalizing role, some of them, with the beginning of the 20th century, being investigated with the tools of psychoanalysis, even entering terminology (for example, the Oedipus complex, the Electra complex). This new perspective has the unconscious as a vehicle immersed in dreams and dreaming in the worlds of the unconsciousness are, mythologically, most of the time, forms of initiation, contact with other worlds, and ways of investigating the future. Such interpretations of dreams are presented in William Shakespeare's play The Tempest and Pedro Calderon de la Barca's Life is a Dream. [ABSTRACT FROM AUTHOR]

This article delves into the theme of care in William Shakespeare's play The Tempest. The author argues that care serves as a means of exerting power and exposes the hierarchies of race, class, gender, and ability within the play. The protagonist, Prospero, employs care as a rhetorical strategy to maintain control over his daughter Miranda and his slave Caliban. The article explores how Prospero's care is intertwined with his authority over their actions and emotions, shedding light on the complexities of care within a colonial context. Additionally, the text examines the relationship between care and power, highlighting instances where characters such as the boatswain possess more power over life and death than the king. It also touches upon the racial dynamics in the play, particularly in relation to Caliban. [Extracted from the article]

In her addition to the tradition of rewritings of The Tempest, Margaret Atwood makes Shakespeare travel through time, well beyond the confines of his desert island: Hag-Seed takes place inside a penitentiary in landlocked Ontario, Canada, thus prompting us to ponder how the Shakespearean text can yield new meanings for the contemporary postcolonial world. This essay shows how, in this intertextual novel, Atwood articulates a powerful reflection on freedom and imprisonment thanks to subversive Bakhtinian devices such as carnivalisation and dialogism. Indeed, the inmates of Fletcher Correctional, through their performance of a parodic version of The Tempest, subvert the authority of the Shakespearean text through a carnivalesque reversal of established rules of behaviour. The novel thus posits the importance of theatre as an educational and therapeutic tool. Further, Atwood enlists the help of popular culture as the prisoners reinterpret the Shakespearean model through a series of provocative rap numbers. Moreover, thanks to the imaginary scenarios Hag-Seed's inmates write about the afterlives of the Shakespearean characters, the monologic authority of The Tempest is dialogised into a cacophony of unruly voices. Playful carnivalisation paradoxically enables a deeper emotional aspect of the novel: the ability of Atwood's Prospero figure to come to terms with the trauma of the death of his daughter. In that sense, Hag-Seed can be seen as a long process of atonement and mourning. From an aesthetic point of view, the carnivalised performance of The Tempest illustrates Atwood's use of metatheatricality and magical realism, the latter being rooted in a carnivalisation of the parameters of conventional realism. All in all, Hag-Seed can be construed as a novel at the crossroads between modernism and postmodernism: if it relies on a postmodern parodic gesture, it nevertheless foregrounds the epiphanic modernist agenda of achieving social justice and spiritual regeneration. [ABSTRACT FROM AUTHOR]

The article reviews a theatrical production "The Tempest" by Commonwealth Shakespeare Company at Boston Common, Boston from 21 July–8 August 2021 directed by Steven Maler.

This article discusses the TV series The Wilds (Amazon Prime, 2020) as an adaptational experiment with Shakespeare's The Tempest in several respects: as one of the latest complex TV shows to engage with the Shakespearean legacy, it experiments with the serialization of Shakespeare's plot. Further, being an 'unmarked' adaptation that never directly refers to Shakespeare, it tests the limits as to what is 'Shakespeare' and what is 'not Shakespeare' or 'no longer Shakespeare' in the adaptational rhizome created by The Tempest and its reworkings, among which Lord of the Flies , Brave New World , and the TV series Lost are of particular importance for The Wilds. Changing Shakespeare's character constellation to an all-female group of teenage castaways overseen by a female social scientist modelled on Prospero who seeks to overcome master narratives of fraternal power struggles, colonial exploitation, and patriarchal sexual oppression, The Wilds tests which changes the Shakespeare material can and perhaps needs to undergo to continue to have cultural meaning today. As part of this radical re-gendering, the series multiplies and collates Miranda, Ariel, and Caliban to interrogate contemporary girlhood and the future of intersectional feminism. The article concludes by assessing how the series appeals to differently knowing viewers, some of whom will feel invited to partake in the Tempest experiment, while others will lose Shakespeare's tracks in The Wilds. [ABSTRACT FROM AUTHOR]

Copyright of Art Studies Quarterly / Problemi Na Izkustvoto is the property of Bulgarian Academy of Sciences, Institute of Art Studies 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.)

Strangeness occurs in many places and in a variety of forms in Shakespeare, but nowhere more compellingly than in The Tempest. This late, 'magical' play distinguishes itself by its depiction of the bizarre and the unusual in terms both of character and incident. In this article, I argue that, in deploying and developing his understanding of the strange, Shakespeare takes his cue to a degree from The Faerie Queene of Edmund Spenser, whose allegorical method also employs the odd and the unfamiliar. Spenser's epic poem was published in three separate editions in the course of Shakespeare's writing career: at its beginning in 1590 (the first three books), again in 1596 (six books), and in 1609, a year or two before the composition of The Tempest. [ABSTRACT FROM AUTHOR]

Through an examination of the domestic banquet set in the middle of Titus Andronicus and the second banquet in the last scene, this essay aims to explore the metatheatre of these two broken banquets and analyze its role in strengthening the theatricality of the play. A coda, as an appended section to the subject matters under discussion, will provide a brief overview of the broken banquets in five other Shakespearean plays--The Taming of the Shrew, As You Like It, The Tempest, Macbeth, and Timon of Athens--and call attention to the ways in which the metatheatre in them continues the exploration of diverse issues related to the politics and ethics of eating such as moderation, hospitality, forgiveness, and reciprocity. [ABSTRACT FROM AUTHOR]

I analyze Shakespeare’s racialization of noise in The Tempest as an acousmatic phenomenon and suggest how the acousmatic — sound whose source remains hidden — is imagined as a weapon of resistance that the racialized noisome Other could use to resist aristocratic and colonial power. Shakespeare’s play echoes the Algonquian-speaking Powhatan use of acousmatic singing in Tsenacommacah as a mode of warfare against the English in Virginia in 1611 with that of Caliban and his companions’ (Stephano and Trinculo) singing revolt. [ABSTRACT FROM AUTHOR]

Inspired by the reinvigorating theory of Wai-Chee Dimok and Rita Felski, I argue that The Tempest resonates with current theory and performance of Indigenous resurgence in North America. With reference to the work of Indigenous performance theorist Floyd Favel, political thinkers Leanne Simpson and Glen Sean Coulthard, and to plays and performances by Yvette Nolan, Monique Mojica, Kevin Loring, and Spiderwoman Theatre, I describe resurgence as culturally recuperative practices of movement on the land that make it feel more comfortable, establish an Indigenous sense of sovereignty, and diminish shame. I emphasize the ways in which the physical and imaginative mobilities of Shakespeare's Boatswain and Gonzalo anticipate the comforting—and insurgent—land-oriented movements of Caliban. I argue that Caliban's sense of natural sovereignty is understood better in terms of free and secure mobility than in terms of rule or possession. [ABSTRACT FROM AUTHOR]

A literary criticism of the play "The Tempest," by William Shakespeare is presented. It explores the role of a recalcitrant interpretive crux in the changes in the character of Prospero in the course of the play, the projection of Prospero's will and power in the play, Prospero's equanimity and self-control of a Stoic sage, and Shakespeare's introduction of the protagonist as a figure who is immune to the effect of the storm.

This essay explores the myriad stage and paper engagements with one of the most popular plays of the Restoration period: William Davenant and John Dryden's The Tempest, or the Enchanted Island (1670). It examines the flurry of printed materials circulated in the wake of the theatrical production, tracing The Tempest 's migration from performance to print and back again. By charting how audiences and readers encountered the play beyond the playhouse, Stephen Watkins argues that we will begin to more accurately assess the role that commercial drama played in the cultural and imaginative lives of the people it originally entertained. [ABSTRACT FROM AUTHOR]

The article reviews the revival of William Shakespeare's play "The Tempest," directed by Brendan O'Hea and starring Mark Desebrock, Sara Lessore and Tom Chapman, at the Shakespeare's Globe theater in London, England.

A literary criticism of the play "The Tempest" by William Shakespeare is presented. It outlines the characters and significance of race, language, and colonial power dynamics in the play. It examines the involvement of only white characters and the racially ambiguous spirits who serve them, wielding magic successfully, resulting in a more authoritarian story.

The article discusses that English poet Thomas Heywood's first three Ages plays were written and produced at about the same time as English poet William Shakespeare's "The Tempest." The five Ages plays were blockbuster action films of their time and portrayed scenes of violence, including battles, group brawls, and fights with and without weapons. The most obvious similarity between "The Silver Age" and "The Tempest" is the presence of the three goddesses, Juno, Iris, and Ceres.

Copyright of Alif: Journal of Comparative Poetics is the property of Alif: Journal of Comparative Poetics, AUC 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.)

The two Prospero(s) of this pair of literary texts authorize the history, (re)stage the tempest, play chess with the characters: by mirroring, repeating and eventually decentering, the play and the rewriting's cyclical mechanism undermine their cores in terms of the legitimacy of power. By taking the main characters of both literary texts as prominent ruler figures, the present study aims to explore the ways in which they alter the perception of reality through a consistent mirror effect, with references to the uncanny 'politics' andBelsey's appropriation of trompe-l'oeil to literary studies. [ABSTRACT FROM AUTHOR]

This essay applies discourse theory and geocriticism to Shakespeare's The Tempest in order to show the ways in which the island space is inscribed in the play's theatrical spatial imagination as an enclosed area engendering multi-discursive meanings. The space of the stage is the site of encounter for multiple dramatic voices and identities, each of them with their own discursive structure and motivational parameters. This multivocal encounter among cultures and allusions to other spaces has contributed to the play's success in production throughout the centuries, as it has been translated in several languages, produced in many directorial interpretations, and adapted in novels, poetry, movies, manga, videogames, etc. I argue that the play's multivocal aspect--as manifested in the island space of the theatre--is the result of the sedimentary process that has allowed each character to speak with his/her own voice throughout the ages, while at the same time borrowing various voices and languages from the surrounding culture and the time in which it has been produced or adapted. [ABSTRACT FROM AUTHOR]