Search results

You are looking at 1 - 9 of 9 items for :

  • Manchester Literature Studies x
Clear All
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
Abstract only
The years of radicalisation and consolidation
Par Kumaraswami, Antoni Kapcia and Meesha Nehru

to cultural and political developments of the time, already articulated by the Caimán group at the 1968 Congress and gaining strength amongst Latin American intellectuals by 1971. In this context, the vexed question of how to define the revolutionary intellectual, eloquently argued in Fernández Retamar’s essay Calibán (Fernández Retamar, 1980; Abreu Arcia, 2007: 143–54), became especially important. Published just months after the Congress, in Issue 68 of Casa de las Américas (September–October 1971), it shed different light on the caso, outlining the temptation

in Literary culture in Cuba
Abstract only
South African fiction in the interregnum
Tim Woods

apartheid, the book rejoices in his failure to fit the stereotypical role demanded of him by racist white South Africa: ‘if I am a freak, it should not be interpreted as a failure of their education for a Caliban, but a miscalculation of history’ (Modisane 1963 : 179). Yet Modisane’s book is principally about the ways in which apartheid sought to eradicate history, especially the history of black culture

in African pasts
Abstract only
Warren Oakley

and even a bawdy-house keeper.61 86 Thomas ‘Jupiter’ Harris The judges merely dragged Harris back to 1767 and upheld what he had agreed to, condemning everyone involved to repeat the last three years. The contract could not be torn up, they insisted. ‘Mr. Colman do continue in the conduct of the theatre,’ they decided, ‘subject, however to the advice and inspection of the three other managers, but not to the absolute control.’ Anything else would be ‘an absurdity in terms’, one of them claimed, ‘and something like Trinculo’s delegated power to Caliban in The

in Thomas ‘Jupiter’ Harris
Abstract only
On with The Knight’s Tale
Helen Barr

power. Hounded by dogs that recall those that Ariel conjures up in The Tempest to bait the would-be usurping trio of Trinculo, Stephano and Caliban, the stag is killed in a tempestuous finale.32 Foresters command the audiences, both on stage and off, to ‘[s]ee the Stag’s head which so did spread his bream / The small trees did seem to envy him’. 33 The antlers of the dead stag are a political and theatrical trophy. Envied by the small trees, the ten-branched antlers form a puny contrast to the emblem of Charles II as the Royal Oak.34 The Rivals creates a version of

in Transporting Chaucer
Conflicting signifiers of vice in The Picture of Dorian Gray and The Mystery of Edwin Drood
Diane Mason

. 53 Ellmann, Oscar Wilde , p. 217. 54 J. M’Gregor-Robertson, The Household Physician (London: The Gresham Publishing Co., 1904), p. 898. 55 Clouston, ‘Diseased Cravings and Paralysed Control’, p. 797. 56 Cooke, Seven Sisters of Sleep , p. 125. 57 See: Nancy Jane Tyson, ‘Caliban in a Glass: Autoscopic Vision in The Picture of Dorian Gray’ in Elton E. Smith and Robert Haas (eds), The Haunted Mind: The Supernatural in Victorian Literature (Lanham

in The secret vice
Warren Oakley

the life gleefully imagined by OP supporters as best suited to his talents – that of hiding behind gravestones in lonely churchyards at night to terrify yokels by jumping out to perform Hamlet or Caliban – he would choose relative obscurity for a time, playing one small theatre after another at places like Bath When sorrows come, they come not single spies 159 and Bristol. It may have been a yearning to return to that life before London, before the Garden had drained his energy, and before the coughing of blood and the pains of gout. He would come back for a

in Thomas ‘Jupiter’ Harris
Semiramis and Titania
Lisa Hopkins

impute the blame therof unto the heavens, so as to excuse their own folly and imperfections’ ( View Part I, p. 2). (One might also note the similarity between Caliban’s resolve at the end of The Tempest to ‘be wise hereafter / And seek for grace’ 46 and Irenius’ declaration that after a defeat the Irish ‘creepe a little perhaps, and sewe for grace

in Goddesses and Queens
Sir Wa’ter’s two Books of Mutabilitie and their subject’s allegorical presence in select Spenserean narratives and complaints
James Nohrnberg

Miscellanies, under the heading ‘The Three Kings of Bermuda and Their Treasure of Ambergris’, was the first to connect Shakespeare’s Tempest, and the squabbles of Caliban, Stephano, and Trinculo over supremacy on Prospero’s island, with the three men (Carter, Waters, and Chard) who discovered, quarrelled over, and hoped to make off with the ambergris cache (after the shipwreck of Sir George Somers on Bermuda in 1609). The alcoholic and uriniferous stink of Shakespeare’s clowns would be in odiferous counterpoint to the rare ingredient of medicines and perfumes found by the

in Literary and visual Ralegh