Tempest

This essay examines racial discrimination in Shakespeare’s The Tempest in terms of sensory deprivation and sensory punishment through incarceration and neglect, painful abuses and unpleasant contacts. As my reading of The Tempest will show, such mistreatments effectively produce an abject group that can then be labeled monstrous, misshapen, and fundamentally other. Scholars have long debated the nature of Caliban’s difference and of the enmity between Caliban and his “master” Prospero. As I argue, audiences watching the play witness Caliban’s mistreatment at Prospero’s hands and may come to understand Caliban’s perceived difference as the result of consistent deprivation or “pinching.” Prospero’s pinching of Caliban includes the use of incarceration, beatings and other painful touches delivered by the disembodied hands of his spirits. More broadly, however, pinching includes the withdrawal of affection, education, and opportunity, the withholding of pleasant tastes, touches, sights, sounds and smells, and the exposure to foul ones. Controlled by the pinch of deprivation, Caliban may desire mastery but he cannot achieve it. The pinch is easily extrapolated to a whole group in the play, so that Calibans, are a pinch-spotted race of sub-humans, fit only for labor. The pinch robs recipients of the opportunity to imagine (of leisure and freedom to freely imagine without penalty) by punishing attempts to imagine and by forcing idle minds to labor continually, by restricting movement, thought, and action. “Pinching” is a kind of active and attentive depreciation of others. By pinching one can forcibly alter another’s behavior so that he or she will be prevented from doing any better or any differently. This poor conduct is then believed to be innate, the individual culpable for his failings, and the pinch a just punishment for bad behavior.

In this theses paper I tried to explore the postcolonial features in the play ‘The Tempest’ of William Shakespeare. This is my personal intention to prove that The Tempest by William Shakespeare plays an important role in the development of  post-colonial literature and criticism. It was created in a moment when the colonial system was just beginning to come into being and that is now falling apart from us. I tried to investigate  what the  post-colonial writers and critics found in The Tempest evidence of a history of colonial context. Because my argument depends  on the contention that The Tempest was created in a world where colonialism was coming into being. I explored the historical context surrounding the moment of  the play’s creation , in spite of the contention of many historians and some literary critics to the contrary. After verifying and illustrating the historical roots of several popular themes in The Tempest that post-colonial writers have discussed , I turn to the work of writers and critics from the Third World to show how The Tempest plays a significant role in postcolonial studies.  It is a matter of  analyzing the  issues such as subjugation, dominance and language in relation to power. It also discusses the complex relationship that exists between the master and slave. This text “Tempest”  have dealt  with each issue in its own way. Frantz Fanon‘s Black Skin White Mask , Edward Said‘s Orientalism, Peter Barry’s Beginning theory, Key Concepts Of  Post-Colonial Studies and some more texts that I have studied in perspective of Post-Colonial view. I have been used these  texts from Post-colonial perspective just for making my point of view a practical one. Except from these texts as primary sources I also took help from many journals, articles and other  online resources that i have been used as secondary sources.

路德維茲‧凡‧貝多芬獨奏鋼琴全集: 由亞圖爾‧施耐貝爾錄製於一九三零年代的倫敦艾比路錄音室 --
三十二首鋼琴奏鳴曲(包括"悲愴"、"月光"、"暴風雨"、"華德斯坦" 及 "鎚子鍵琴")、迪亞貝里變奏曲及其他作品。
Ludwig van Beethoven: intégrale des oeuvres pour piano solo, enregistrées par Artur Schnabel au studio Abbey Road de Londres dans les années 1930 - les 32 sonates pour piano (y compris la «Pathétique», le «clair de lune», le «Tempest», la «Waldstein» et la «Hammerklavier»), les Variations Diabelli, et d'autres pièces.

In the 2017 popular action film Logan, director James Mangold features the character Caliban (Stephen Merchant), an albino mutant, alongside the more popular Wolverine (Hugh Jackman). As one of the X-Men, Caliban is far from handsome or heroic; indeed, his bloodhound powers to detect and track other mutants seem to be magnified by his animalistic appearance…

In this paper, our aim is to focus on Shakespeare‟s The Tempest in the light of the supernatural worlds, where they play the crucial functions in the form of fairies, goblin, ghosts, apparitions, witches, and evil sprits to develop the thematic materials including ambiguity, confusion, ambivalence, domination, the plot-construction, the art of characterization and the general philosophical suggestions. It aims to look at applying the critical comments of several critics and scholars including Thiselton, Dodgers, Clark, Sears, Gibson, Nuttall, Dobree, Egan, Puck, Traversi, and Strachey through whom our study is minutely analyzed with a view to exposing the supernatural elements. In this paper, we will also discuss on Shakespeare‟s background, the attitudes of the Elizabethan people towards the metaphysical elements of the supernatural worlds in literature, and to a limited extent, its dramatic qualities and techniques. This paper also looks at the character, Prospero illuminated by t...

A remarkable fact about William Shakespeare’s The Tempest is that characters do not
always see or hear the same thing. But while this estrangement of knowledge thins
out the boundaries between character and environment to recognizably great dramatic
effect, the aporetic energies underlying that estrangement are not yet fully understood.
This article explores their significance by examining the connections between The Tempest and Michel de Montaigne’s An Apologie of Raymond Sebond (long suspected
to be related). It proposes a new verbal parallel between the play and the essay but does
not confine its argument to such a criterion. Rather, it is a case study in the Renaissance
practice of imitation that works from a number of aspects—shared matrices of thought and feeling, similar metaphors, networks of texts—to reconstruct the presence of a locus classicus of Renaissance skepticism in Shakespeare’s late play. Along the way, it triangulates these works with a discussion of King Lear and examines the presence of Vergil and the possible presence of Seneca. It argues that Shakespeare used Montaigne’s
essay to make his island epistemologically strange, and that this sensitive use of a philosophical source is notable for being so deeply dramatically embedded.