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Caribbean beauty competitions in context
Rochelle Rowe

, Noises in the Blood: Orality, Gender and the ‘Vulgar’ Body of Jamaican Popular Culture (Warwick: Macmillan Caribbean, 1993). 8 Cooper, ‘Caribbean Fashion Week’, pp. 387–404. 9 Natasha Barnes, ‘Face of the Nation: Race, Nationalisms, and Identities in Jamaican Beauty Pageants’ in Conseulo Lopez-Springfield (ed.), Daughters of Caliban: Caribbean Women in the Twentieth Century (Bloomington: Indiana University Press, 1997) pp. 285–305 (an earlier version of this essay appeared in the Massachusetts Review, 1994) see also Barnes, Cultural Conundrums: Gender, Race, Nation

in Imagining Caribbean womanhood
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Elisabeth Bronfen and Beate Neumeier

Renaissance construe[d] as irrepressibly Gothic and ominously modern’, taken up in Andreas Höfele’s reading of Shakespeare’s The Tempest through Oscar Wilde’s late nineteenth century Gothic novel The Picture of Dorian Gray . Höfele takes Wilde’s reference to Caliban in the preface of the novel as a starting-point for a comparative investigation into the human/animal boundary within early modern and post

in Gothic Renaissance
Transnational versions of cross-class desire in Cardenio and Mujeres y criados
Barbara Fuchs

recited Caliban’s lines from The Tempest describing the island: Be not afeard; the isle is full of noises, Sounds and sweet airs, that give delight and hurt not. Sometimes a thousand twangling instruments Will hum about mine

in Transnational connections in early modern theatre
Open Access (free)
Crossing the seas
Bill Schwarz

-century Caribbean fiction does carry a profound consciousness of historical time. For an overview, see Nana Wilson-Tagoe, Historical Thought and Literary Representation in West Indian Literature (Gainesville: University of Florida Press, 1998), and more specifically, Supriya Nair, Caliban’s Curse: George Lamming and the reconfiguring of history (Ann Arbor: University of Michigan

in West Indian intellectuals in Britain
Shakespeare in the time of the political
Richard Wilson

Caliban’ before the arbitrary inflictions of Prospero to be symptomatic of a peculiarly Shakespearean submissiveness, ‘at once sullen angel and pensive dog’. In absolutist doctrine the king is like God in his creative jurisdiction, since his subjects are his creatures. But it is Caliban’s very creatureliness that excites his own creativity , in melancholy response to his subjection. So as Lupton points

in Free Will
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Deviant psychology in Kenya Colony
Will Jackson

, others have sought to address directly colonialism’s psychological repercussions. In his 1956 book, Prospero and Caliban: The Psychology of Colonization , the French psychoanalyst, Octave Mannoni described what he termed a colonial ‘complex’. Colonialism, Mannoni argued, engendered dependency on the part of colonised peoples and domination on the part of colonial Europeans. 58 Five years later

in Madness and marginality
The tragic voice of Richard Wright
Bill Schwarz

currents and to Henry’s original argument: P. Henry, Caliban’s Reason: Introducing Afro-Caribbean Philosophy (New York: Routledge, 2000). Through the postwar period Présence Africaine published, amongst others, Basil Davidson, Ronald Segal, Kwame Nkrumah, Julius Nyere, Eric Williams, George Padmore, Richard Pankhurst and Fenner Brockway

in Cultures of decolonisation
Stephen Orgel

of authority that was not without its element of danger. I conclude with a passage from my book Impersonations . When Prospero tempts Stefano and Trinculo to their destruction with a closet full of “glistering apparel” he invokes a central cultural topos. Caliban declares the garments to be “trash”; but they are trash only because the

in Spectacular Performances
Claude McKay’s experience and analysis of Britain
Winston James

’, Wellesley College, April 1991. I never claimed, contrary to Paget Henry’s caricature of my argument, that James’s celebration of Western civilisation ‘has its roots in Eurocentric tendencies that James inherited from Marxism’: Paget Henry, Caliban’s Reason: introducing Afro-Caribbean philosophy (New York: Routledge, 2000), p. 48. I know better than that and made it clear in my

in West Indian intellectuals in Britain
David Macey

museums and some enigmatic carved stones deep in the forests.15 Martinique’s history began with colonisation and slavery, with an encounter with an absolute white other. This is how Edouard Glissant’s mytho-poetic fictional history of the island commences: with the arrival of the Rose-Marie and her cargo of slaves, watched by ‘le maître au regard bleu’ (‘the blue gaze of the master’), by ‘l’homme aux yeux bleus’ (‘the man with blue eyes’) (Glissant 1990: 21 and 24). In Aimé Césaire’s Caribbean reworking of The Tempest, it is the gaze of Prospero that imposes on Caliban

in Frantz Fanon’s 'Black Skin, White Masks