The Under Presents: The Tempest by William Shakespeare

2021 ◽  
Vol 73 (2) ◽  
pp. 236-238
Author(s):  
Alicia Corts
Keyword(s):  
William Shakespeare ◽  
The Tempest

scholarly journals Postcolonial Resistance of Western Imperialist Ideology: Constructing Identities of Others as Violent Savages

2019 ◽  
Author(s):  
Menia Mohammad Almenia
Keyword(s):  
William Shakespeare ◽  
Charlotte Bronte ◽  
Postcolonial Theory ◽  
Daniel Defoe ◽  
Literary Texts ◽  
Jane Eyre ◽  
Hegemonic Discourse ◽  
The Tempest ◽  
Dominant Society ◽  
Binary Division

This paper examines how hegemonic discourse, or the ideology of a dominant society has essentialized, fixed, and divided identities through the construction of binary division of Western’s ideology as civilized and Others as savages. The development of postcolonial theory will be introduced with special consideration to Said’s (1995) theory of Orientalism and Spivak’s (1988) concept of “silencing the Others.” Sample Western literary texts will show a concerted expression of colonial ideology supporting the concept of binary divisions. These will include The Tempest by William Shakespeare (1990), Robinson Crouse by Daniel Defoe (1899), Jane Eyre by Charlotte Bronte (2001), and Passage to India by E. M. Foster (1985). In contrast, literary works by minority authors, mainly postcolonialists, will be examined and considered according to how effectively they resist Western imperialist ideology.

scholarly journals Shakespeare and the Demonization of Fairies

Text Matters ◽  
2017 ◽  
pp. 194-213
Author(s):  
Piotr Spyra
Keyword(s):  
William Shakespeare ◽  
Early Modern ◽  
Thomas Hobbes ◽  
Midsummer Night's Dream ◽  
The Tempest ◽  
Recent Scholarship ◽  
A Midsummer Night's Dream ◽  
The Many ◽  
Historical Reflection

The article investigates the canonical plays of William Shakespeare - Hamlet, Macbeth, A Midsummer Night’s Dream and The Tempest - in an attempt to determine the nature of Shakespeare’s position on the early modern tendency to demonize fairy belief and to view fairies as merely a form of demonic manifestation. Fairy belief left its mark on all four plays, to a greater or lesser extent, and intertwined with the religious concerns of the period, it provides an important perspective on the problem of religion in Shakespeare’s works. The article will attempt to establish whether Shakespeare subscribed to the tendency of viewing fairies as demonic agents, as epitomized by the Daemonologie of King James, or opposed it. Special emphasis will also be put on the conflation of fairies and Catholicism that one finds best exemplified in Thomas Hobbes’ Leviathan. The article draws on a wealth of recent scholarship on early modern fairies, bringing together historical reflection on the changing perception of the fairy figure, research into Shakespeare’s attitude towards Catholicism and analyses of the many facets of anti-Catholic polemic emerging from early modern Protestant discourse.

scholarly journals ‘Palimpsesto’ cinematográfico: rescribiendo y releyendo The Tempest de William Shakespeare

2017 ◽  
Author(s):  
Francisco José Cortés Vieco
Keyword(s):  
William Shakespeare ◽  
English Literature ◽  
The Public ◽  
Elizabethan Drama ◽  
Peter Greenaway ◽  
The Tempest ◽  
Physical Presence

Resumen: La reproducción audiovisual del canon literario en el ámbito anglonorteamericano implica un desafío de gran calibre ante crítica, académicos y público, resuelto con originalidad creativa y solvencia tecnológica en la adaptación cinematográfi ca Prospero’s Books de Peter Greenaway, quien reescribe y relee The Tempest de William Shakespeare. Creará un simbólico palimpsesto textual y visual que privilegiará la presencia física de libros con contenido enciclopédico y de esta obra teatral, escrita, leída y escenifi cada en un universo de imágenes preciosistas, sin descuidar implicaciones ideológicas sobre la autoría literaria, la propiedad del conocimiento y la coyuntura histórica con génesis en la dramaturgia isabelina. Abstract: To satisfy scholars, critics and the public alike, the cinematographic adaption of the canon of English Literature implies a great challenge, which is technologically and creatively resolved by Peter Greenaway’s Prospero’s Books. This work successfully rewrites and rereads William Shakespeare’s The Tempest. The fi lm-maker builds and simultaneously unravels a metaphorical palimpsest, consisting of texts and images superimposed, to be handwritten, listened to and performed. This visual manuscript problematizes the physical presence of books and this play on screen, without overlooking ideological implications stemming from Elizabethan drama: the authorship of literature, the property of knowledge and historical circumstances.

The Tempest by William Shakespeare

2018 ◽  
Vol 70 (2) ◽  
pp. 243-245
Author(s):  
Justin B. Hopkins
Keyword(s):  
William Shakespeare ◽  
The Tempest

The Tempest by William Shakespeare

2015 ◽  
Vol 67 (3) ◽  
pp. 546-548
Author(s):  
Jieun Lee
Keyword(s):  
William Shakespeare ◽  
The Tempest

A Nest of Traitors!: What is Paranoia?

Paranoia ◽  
2008 ◽  
Author(s):  
Daniel Freeman ◽  
Jason Freeman
Keyword(s):  
William Shakespeare ◽  
Unborn Child ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
James I ◽  
The Tempest

November 5, 1611. London. At the court of James I, the king and his entourage settle down to enjoy the latest play by celebrated playwright William Shakespeare. The play in question is The Winter’s Tale, one of the clutch of so-called romances—along with Pericles, Cymbeline, and The Tempest—Shakespeare wrote before retiring back to Stratford, where he died in April 1616. Like Shakespeare’s other late plays, The Winter’s Tale offers a startling mixture of styles, oscillating wildly between pastoral comedy and intense psychological drama. It also includes a harrowing portrayal of extreme paranoia. Not that this could be guessed from the gentle opening of the play. Leontes, king of Sicily, is entertaining his childhood friend Polixenes, king of Bohemia. But having been away from home for nine months, Polixenes is anxious to return to Bohemia. Leontes pleads with him to stay, but Polixenes’ mind is made up. Or at least it is until Leontes asks his wife, Hermione, to speak to him. And though we might assume that Leontes will be overjoyed by Polixenes’ change of heart, what we see next couldn’t be more unexpected. Polixenes’ decision plunges Leontes into a savage spiral of paranoia. How was Hermione able to persuade his lifelong friend to stay in Sicily when his own efforts were futile? That’s simple: Hermione and Polixenes are lovers. Polixenes is the father of Hermione’s unborn child. And everyone except Leontes knows it: . . . They’re here with me already; whispering, rounding ‘Sicilia is a so-forth’ Tis far gone When I shall gust it last. . . . What starts off resembling a bizarre attack of jealousy soon develops into much more. Suddenly, and without a shred of evidence, Leontes suspects everyone of plotting against him—including his faithful subject Camillo, whose only crime is the attempt to defend Hermione: . . . What starts off resembling a bizarre attack of jealousy soon develops into much more. Suddenly, and without a shred of evidence, Leontes suspects everyone of plotting against him—including his faithful subject Camillo, whose only crime is the attempt to defend Hermione: . . .

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