Instead of a conclusion
Ruth Morse

‘recognise’ that The Winter’s Tale – my fourth example – alludes to Pygmalion because it contains an apparent statue that apparently comes to life. That would be a very common form of cherry-picking – as Caliban is often picked from his original context to make something new. But The Winter’s Tale may rather make something old, in a coup de théâtre that is more likely to invite us to

in Interweaving myths in Shakespeare and his contemporaries
Abstract only
L’effroi et l’attirance of the wild-woman
Jacqueline Lazú

controlled for the sake of the man. In Fur (2000) , Citrona appears as the ultimate symbol of a fear-inducing individual. Her body is an individual body, beastly in nature, consuming only raw meat. Citrona, unlike The Tempest ’s Caliban, has also mastered, consumed and internalised language, philosophy and knowledge about popular culture – as a result, she is able to use ‘the master’s tools’ to rationalise her circumstances and gain control over the anxiety of her spectators. But, by having Citrona control the levels of anxiety – displacing

in The last taboo
Antony and Cleopatra and visual musical experience
Simon Smith

– a theatrical language describing the dramatic world. This has been recognized in part by Frances Ann Shirley, who notes that ‘musical sounds […] create the illusion of marching armies off stage’ in a number of Shakespeare’s plays. She traces the particular meanings that certain musical and non-musical sounds can convey – how ‘[a] flourish, for example, adds an air of dignity and increases our excitement’, or how ‘the words of Caliban and Barnadine before they enter not only create anticipation in the audience, but also confirm the unflattering descriptions of each

in The senses in early modern England, 1558–1660
Tamsin Badcoe

’s Malengin and the elegies written in honour of Fiach Mac Hugh O’Byrne in The Severed Head and the Grafted Tongue: Literature, Translation and Violence in Early Modern Ireland (Cambridge: Cambridge University Press, 2013), pp. 139–40. 117 For a similarly polyvalent wetlandscape see Todd Andrew Borlik, ‘Caliban and the Fen Demons of Lincolnshire: The Englishness of Shakespeare’s Tempest ’, Shakespeare , 9.1 (2013), 21–51. Borlik suggests that Caliban has one foot in imagined New World colonies and the other in the oozing fens of Lincolnshire. 118 FQ , note to V.x.24

in Edmund Spenser and the romance of space
The Ilbert Bill controversy, 1883–84
Mrinalini Sinha

adopted in the Anglo-Indian press. One native newspaper had the following to say on the Pigot case: The Englishman refuses to believe that the fair Miranda of the Tempest, recently enacted at the High Court, could possibly go wrong with Caliban . . . . We wonder that the revelation in the High Court of Babu Kali

in Colonial masculinity
Race, culture and power in the Trinidad ‘Carnival Queen’ beauty competition, 1946–59
Rochelle Rowe

cleaning up carnival: the trinidad ‘carnival queen’ woman was tamed into a decorative symbol of Carnival. Winners of ‘Queen of the Bands’, who tended to be brown, and rarely black, were tasked with delivering femininity that combined elements of subaltern cultural authenticity, so prized by the middle-classes, harmonised with the aspirations of a modernising Carnival. Notes 1 Trinidad Guardian, 27 February 1949, p. 6. 2 Barnes, Cultural Conundrums, p. 56. 3 Rosenberg, Nationalism and Caribbean Literature, p. 129; Neptune, Caliban and the Yankees, pp. 23, 47

in Imagining Caribbean womanhood
Eric Pudney

fire; Caliban – although he is not a spirit – is associated with both earth and water. However, Shakespeare’s Tempest does not really interrogate the nature of spirit: that spirits exist, and that they are airy and rapid, is merely taken for granted. The characteristics of spirits, and the nature of their operations in the material world, are dealt with much more explicitly and in much greater depth in the song above. This particular alteration to the story would not seem to be the result any particular enthusiasm for the existence of spirits on the part of the

in Scepticism and belief in English witchcraft drama, 1538–1681
The demimonde and the very poor
Ginger S. Frost

, IV, 317–22; Mayhew, London Labour and the London Poor, II, 294. 25  Gillis, For Better, For Worse, p. 204; Mayhew, London Labour and the London Poor, IV, 226–36. 26  HO 144/161/A41540 (for quote); Liverpool Mercury, 17 November 1885, p. 3; 9 December 1885, p. 7. 27 J. W. Rounsfell, On the Road: Journeys of a Tramping Printer, ed. A. Whitehead (Horsham: Caliban Books, 1982), pp. 19–20. 28  Mayhew, London Labour and the London Poor, III:403; M. Higgs, Glimpses into the Abyss (London: P. S. King & Sons, 1906), p. 94. j j 144 the demimonde and the very poor 29

in Living in sin
Abstract only
The relic state
Pamila Gupta

Fred Cooper (eds), Tensions of Empire (Berkeley: University of California Press, 1997). 12 See Boaventura de Sousa Santos, ‘Between Prospero and Caliban: Colonialism, Postcolonialism, and Inter-Identity’, Luso-Brazilian Review , Volume 39, No. 2, Special Issue, Portuguese Cultural Studies

in The relic state
Abstract only
China in children’s periodicals
Kathryn Castle

Dorking’, Victorian Studies , vol. 8, no. 4, June, 1965, pp. 309–27; also ‘For England’, Chums , vol. XVI, no. 801, 1908, p. 430. 34 Boy’s Herald , vol. VIII, 1908; for the psychology of ‘hatred’ in the colonised see O. Mannoni, Prospero and Caliban , London, 1956 , pp. 74

in Britannia’s children