Examine the ways in which Shakespeare and Morrison both use slavery as a means of voicing their perspectives on imperialism.
COLONIAL AND POSTCOLONIAL LITERATURE - ENGL 353. Examine the ways in which Shakespeare and Morrison both use slavery as a means of voicing their perspectives on imperialism. 'And neither world thought the other world's thought, save with a vague unrest.' - W. E. B. DuBois, "The Souls of Black Folk." In this essay, I hope to use the ideology of postcolonial criticism - focusing essentially upon the portrayal of the practice of slavery - in order to draw together two strikingly different texts. I have chosen to look at Toni Morrison's Beloved and Shakespeare's The Tempest. Despite being contemporaneous, in that they conform to Ashcroft et al's definition of a postcolonial text - 'all the culture affected by the imperial process from the moment of colonization to the present day'1, they are disparate in many senses. These divergences stem from the position of the respective writers in terms of their colonial experiences, to the date at which they were written and the very different contextual circumstances surrounding the two times. On the surface, both texts explore the theme of slavery and much attention is paid to the brutalities of the practice. In Beloved in particular there are evocative images of violence and cruelty that can only serve to disgust and outrage the reader. The disturbing representation of human suffering is a constant motif in Beloved and is
Discuss the ways in which Grotowski's proposals for 'Holy Theatre' can be related to the ideas about the function and purpose of performance which came out of the historical avant garde.
DISCUSS THE WAYS IN WHICH GROTOWSKI'S PROPOSALS FOR 'HOLY THEATRE' CAN BE RELATED TO THE IDEAS ABOUT THE FUNCTION AND PURPOSE OF PERFORMANCE WHICH CAME OUT OF THE HISTORICAL AVANT GARDE. Grotowski's work on a 'Holy theatre' with his Theatre Laboratory took place from 1959-70 after which he stopped producing theatrical work to carry out paratheatrical work. The term 'Holy Theatre' is focussed on making theatre more like ritual. Actors had to be trained thoroughly, not just rely on inspiration for their performance. In the search for ritual within the theatre, Grotowski sought a collective experience for the audience which, as a result of the decline of religion, is rarely found in late twentieth century societies. It is also important to establish that by using the term 'Holy theatre', Grotowski does not intend any religious connotation, he was in fact an atheist, 'holy' refers more to the ritual aspect of the theatre and the experience of the audience, which could be compared to experience brought on by a religious ceremony. The historical avant garde is the name given to the collective ideas and methods of theorists, writers and directors working in Europe from (for the purposes of this essay) 1895-1930 who saw opportunities for performance to act as a counter-culture and be like ritual. I have looked in particular at the work of Jarry, Apollinaire and Artaud, especially
Hybridity is the sign of the productivity of colonial power
Hybridity is the sign of the productivity of colonial power "Hybridity is the sign of the productivity of colonial power, its shifting forces and fixities....it is the revaluation of the assumption of colonial identity through the repetition of discrimatory identity effects." Homi. K. Bhabha The way power and domination are theorized has been irrevocably altered by Post-Structuralist and Post-Marxist insights. No longer is repression viewed purely in negative and material terms, but a far more complex array of ideological relationships are introduced. Under the triple-aegis of Gramsci, Althusser and Foucault, modern theories couple the naked exercise of power with a productive idea of discourse, ideology and identity: insidious and pervasive; it structures the domain of individual consciousness itself. The intercasual dialectic between material manifestation of power and its ideological effects is central. However, this has raised a troubling question for those who encounter power not in books, but barrios, not in academies, but in army brutality. Like all politicised others, the postcolonial radicals need to balance the more complex theories of discourse and identity with the need to maintain their own project which aims at articulating an authentic voice. The question is how they are supposed to detach themselves from colonial discourses? How are they to recover the
Discuss the discourse of colonialism in The Tempest.
Discuss the discourse of colonialism in The Tempest The Tempest is a play of such ambiguity that it becomes difficult to discuss the subject of a colonialist discourse in isolation. It becomes inextricably linked with not only power and authority, but also with illusion and reality, with redemption and regeneration. It is through the use of language, relationships and events that the discourse unfolds, and the purpose of this essay is to set out and discuss those aspects of the play that contribute to the making of this discourse. A colonialist discourse will of necessity involve an awareness of power and authority versus slavery and subjugation, of conquest and domination over a deliberately constructed inferior 'other'1. It is this inferior other that is an essential part of the colonialist discourse, that component that exists in the relationship between colonizer and colonized, that ensures the superiority of the invading force. This superiority can only be achieved and maintained if the discourse 'voices a demand both for order and disorder, producing a disruptive other'2. So the other has to be seen as both inferior and disruptive, characteristics that are only too apparent in the play in the shape of Caliban. Indeed it is the relationship between Prospero and Caliban that lies at the centre of the colonialist discourse, for while Prospero demands obedience from
How can the dramatic presentation of Caliban and Miranda affect the dominant readings of the play
How can the dramatic presentation of Caliban and Miranda affect the dominant readings of the play? The Tempest is seen to be a richly complex play; the play itself conforms to John Fletcher's definition of a Tragicomedy. 'A tragicomedy is not so called in respect of mirth and killing, but in respect it wants deaths, which is enough to make it no tragedy, yet brings some near it, which is enough to make it no tragedy'. (From the preface to The Faithful Sheperdess [1610].) Due to the level of complexity and leeway of vivid thought, this play has been interpreted in many different ways to be dramatised. I am going to explore the dramatic presentation of Caliban and Miranda to see how their characters affect the dominant readings of The Tempest. Shakespeare's play was written in the renaissance period and said to be written as part of entertainment to celebrate the betrothal of King James the first's daughter Elizabeth to Frederick, who was the Elector of the German Palatine states. It has also been highlighted that The Tempest might have been influenced by another contemporary writer which Shakespeare would have known; Montaigne's Essay, Of Cannibals. The Tempest itself is set on a remote island which might have been somewhere in the Mediterranean Sea because Italy is mentioned in the beginnings of the play. Shakespeare uses contextual points of the times that are integrated
Compassion is what causes us to forgive. Not because someone deserves it, but because they need it" (Giles 1). In the plays Macbeth and The Tempest
Amanda Nauman Mr. Rhodes English II H / Period 3 03 June 2005 Forgiveness and Compassion "Compassion is what causes us to forgive. Not because someone deserves it, but because they need it" (Giles 1). In the plays Macbeth and The Tempest, Shakespeare poses the questions of humanity and clearly defines it along the lines of the story. Macbeth follows the story of a power-hungry couple and their thirst for power. Eventually murder becomes the means of power, and all the virtues of humanity are forgotten. The Tempest is a play about Prospero and his encounter with his brother whom he despises and wants to seek revenge upon, and his daughter's encounter with love. But the spirit Ariel is there to save Prospero and show him what it means to truly be human. Through the misunderstanding in Macbeth and the understanding in The Tempest, Shakespeare defines humanity as the action of forgiveness and recognition of compassion in both plays. The characters, as well as the readers of Macbeth and The Tempest will understand that the essential qualities defining the human are forgiveness and compassion. In both plays, one must come to the realization that compassion is not mere pity for someone or thing, but it is passionate, caring, divine, and above all, a celebration. In The Tempest, Prospero is initially blinded by a misinterpretation of compassion and his own selfishness: "Now does
"Based on the evidence in the text, do you think that Conrad intended Heart of Darkness to be read as an anti -colonialist literature? Or is the colonial setting just a backdrop for an adventure story?"
"Based on the evidence in the text, do you think that Conrad intended Heart of Darkness to be read as an anti -colonialist literature? Or is the colonial setting just a backdrop for an adventure story?" The Heart of Darkness by Joseph Conrad is considered by many to an important piece of colonial literature in Britain, and also the first modern psychological novel of its time. The novel describes the journey of Marlow and his encounters with the natives and Dutch colonists while traveling in the Congo; the Heart of Darkness was based on Conrad's own experiences while traveling in the African Congo. Some readers have differing opinions on the interpretation of Heart of Darkness; the varying interpretations are that it can be read as a psychological, racist, or anti-colonialist story. As for my own interpretation of Heart of Darkness, I believe that this novel is an attack on colonialism; many of Conrad's own anti-colonial sentiments can be seen throughout the novel. Joseph Conrad's first hand experiences with colonialism were one of the main reasons he detested colonialism so much. Conrad was born to Polish parents and was educated at a young age. He and his family lived happily until Russia invaded Poland. During the Russian occupation, Conrad along with his mother and father were sent to prison. His mother died in prison while later when Conrad and his father was
Away: Not a Postcolonial Novel
Away: Not a Postcolonial Novel Submitted by: Colin Cameron 89-03783 Dr. Smaro Kamboureli English 457 7 April 2003 Introduction Jane Urquhart's novel Away has been presented as an example of a postcolonial novel (Wyile, 1999). A close examination of the novel reveals that this is not so. The novel is a historic novel and the historical events that it relates are those of the colonizers. Also, and more importantly, the novel only contains one First Nations character. As the only First Nations character, one cannot overlook Exodus Crow for evidence of postcolonialism. Urquhart's treatment of Exodus Crow as 'other' is the most poignant point that quells arguments advocating Away as postcolonial. Urquhart's Portrayal of History Away has been included in many different genres, but it must always, at least in part, be considered a historical novel because it recounts historical events. It is through the account of the historical events in the novel that it loses its credibility as a postcolonial novel. One of the tenets of postcolonialism is that "literature is often evasively and crucially silent on matters concerned with colonialism and imperialism" (Barry, 1995). Although Away cannot be said to be completely silent regarding colonialist matters, the historical events that serve as a backdrop for the story are presented from a colonialist viewpoint. It is in this
How does The Tempest reflect the consequences for various characters of the isolation of the individual from society?
The Tempest by William Shakespeare Done by Daniel Stroud Question: How does The Tempest reflect the consequences for various characters of the isolation of the individual from society? How do the characters change and adapt to there new surroundings throughout the play? This is the question that will be answered in depth, in this essay. It will explore each individual character and try to explain just how that character is transformed from being in civilisation too being trapped on an isolated island. It will try to explain why they change and whether the change is necessary and good and whether it helps to shape the specific character into a better person. But for one to start looking at the specific characters one must first understand how they came to be on the island. They came to be because of a powerful wizard by the name of Prospero, who made the tempest, which drove their ship onto the island Shakespeare's enchanted island in The Tempest is a restorative pastoral setting, a place where "no man was his own", and a place that offers endless possibilities to the people that arrive on its shores. It represents "the bounds of things, the remotest shores of the world". On the boundary of reality, the island partakes of the natural and supernatural, both the imaginative and the real. It allows the exploration of both man's potential and his limitations, his capacity for
In what ways can "The Tempest" be read as colonial literature? Compare real history with Shakespeare's text.
In what ways can "The Tempest" be read as colonial literature? Compare real history with Shakespeare's text The Tempest is Shakespeare's last play written before his retirement from play writing. The Tempest is considered to be a tragi-comedy play and it is the only play in which Shakespeare opens the story to the audiences own interpretations.1 The Tempest is the story about Prospero the Duke of Milan who, together with his daughter Miranda, were cast out of his kingdom by his own brother Antonia who wanted to take over his dukedom. Antonia, along with Alonso, King of Naples, wanted both Prospero and Miranda dead, but with the help of Prospero's councilor Gonzalo, they managed to land safely on an island in Bermuda. Prospero and Miranda lived on the island with a spirit helper called Ariel. On the island there also lived a savage native called Caliban who would later become Prospero's slave. Prospero wanted to take revenge on his brother Antonio and Alonso King of Naples, so he used his magic to create a storm to shipwreck them on the same island as Prospero. Historical inspirations for The Tempest can be rooted to a book written by William Strachey in 1610 called A True Reportory of the Wrack.2 In this book which was written many years before the play, was a story about a fleet of ships that were separated during a storm; the ships were sent by the Virginia Company