Abstract This paper relates that William Shakespeare's "The Tempest"
builds its suspense through the interplay of intricate characters. The protagonist Prospero must elude the treacherous Caliban who wants to usurp his bother's throne. There are those who claim that Prospero is just acting on the outside and that on the inside, he is a warm-hearted person. This paper supports the opinion that there is sufficient evidence in the play to suggest that Prospero is not hiding anything and is a selfish and uncaring as he appears on the outside.
From the Paper "We learn of Caliban's physical appearance from other characters. The audience first learns of Caliban from Prospero's description to Ariel. We learn that Caliban is the child of the witch, Sycorax. Caliban's witch/mother is described as "A freckled whelp, hag-born--not honoured with / A human shape". Trinculo and Stefano describe Caliban as less than human. Trinculo asks if Caliban is "a man or a fish?". Stefano describes Caliban as a "moon-calf". A moon-calf is a medieval expression that refers to a deformed creature."
An analysis of the relationship between Prospero, Ariel and Caliban in William Shakespeare's "The Tempest" in the light of competing critical interpretations of the play.
Abstract This paper examines how "The Tempest" has attracted a vast array of critical attention, possibly because of its intriguingly ambiguous message which naturally invites conjecture. It looks at how it is a text loaded with nuances and ambiguities which make it impossible to pin down Shakespeare's original motivation or world view. By contemplating the relationship between Prospero, Ariel and Caliban it considers the author's views of their relationship in comparison with those of major critics.
From the Paper "Caliban's attitude to Prospero is one of absolute terror of his power rather than mere subservience. Mannnoni's argument of a "predisposition to dependency ", supported by Caliban's quick acceptance of Trinculo as "... a new master whose 'footlicker' he can become..." (quoted in Reader, p. 284) is hard to accept. Shakespeare's text is surely more light-hearted than this. Caliban's comic simplicity leads him to believe that Stephano and Trinculo are gods to be worshipped, not just men to be obeyed. In the magical surrounding of the island where the fantastic often happens, the naive Caliban can surely be forgiven for believing that Stephano and Trinculo are "...dropped from heaven" (2.2.134) or "Out o'th'moon" (2.2.135)."
Abstract Richard Ford's "Great Falls" and Ernest Hemingway's "Hills Like White Elephants" are two excellent short stories with little in common except that both contain masterful, but under-stated, portrayals of deeply selfish men. A comparison in this paper of how this selfishness is evoked provides insight into the literary techniques of the two writers. In the case of Ford's story, it also shows how characters can evolve, even in a short story.
Abstract This paper discusses how, by ultimately giving the character Caliban, in "The Tempest", repentant language and showing he is an intelligent creature, Shakespeare has given Caliban his approval and recognised that despite the fact he cannot be civilised, he is a creature of sensitivity deserving sympathy. The paper also argues that, by writing "The Tempest", Shakespeare wanted to make a philosophical and moral point about the taming of people who were considered to be savage and in need of civilisation. It also contends that Shakespeare had a humanitarian view towards undeveloped people and therefore created Caliban to represent an uncivilised creature being controlled and oppressed by people from society, represented by Prospero, who consider themselves to be superior.
From the Paper "However, it is not only Caliban who has an uncontrollable and bestial side. Sebastian and Antonio, educated and civilised members of the Kings court, plot to kill the king while he is sleeping in order to take the throne. This raises Shakespeare's argument of nature versus nurture, which influences the play significantly. For example, the reader might take Shakespeare's descriptions of Caliban's instinctive behaviour and interpret him as an evil creature, but he is not as insensitive as characters such as Sebastian and Antonio. Both men are from an educated and civilised society but they still produce corruption and evil even though they know better, whereas Caliban does not have a clear concept of right and wrong and does not realise his actions are inappropriate. Fundamentally, Caliban's behaviour is horrifying in the eyes of civilized people; nevertheless, his background and the environment in which he grew up in justify his acts."
Abstract This paper is about how the characters in Shakespeare's "The Tempest" see Caliban as a monster. The writer examines the character and proceeds to compare and contrast him to each of the other characters in the play.. The writer also debates about whether or not their treatment of Caliban is justified.
From the Paper "William Shakespeare?s, ?The Tempest,? provides insight into the hierarchy of command and servitude by order of nature. This play uses the relationship between its characters to display the control of the conqueror over the conquered. It also shows how society usually places the undesirable members at the bottom of the chain of command, even though they may be entitled to a higher social status. For example, the beginning of the play opens with a scene on a boat in the midst of a terrible storm. The boatswain, who is under the command of the royal party, attempts to keep the boat from sinking. Members of the royal party, however, persist in interfering with his duties. The boatswain retorts, "What cares these roarers for the name of the king" To cabin! Silence! Trouble us not?(I, I, 16-18). He is trying to warn his superiors that if he does not let him do his job, everyone will die, and it will not matter who has power over whom. The superiors, however, still take offense to this comment and label him a blasphemer. Caliban, an unfortunate character in this play, suffers from similar constant abuse because he is of the lowest social rank in his community. Critic John W. Draper describes Caliban's position in relation to the other characters when he says, ?Of all the characters in Shakespeare, Caliban is the most fully and repeatedly/ described, though not always consistently; and his bodily parts seem to show little/ relation to his humor or his character except that both are monstrous. Monsters/ were popular; and, as Trinculo remarks, any "holiday fool" in England would pay out/ "silver" for the sight of one. Caliban's monstrosity, however, out-Herods Herod?(Draper 89). According to the other inhabitants of the island, Caliban is a monster. He is a symbol of what they never want to become. Caliban reminds them to act as though they are worthy of their high social status. He is the painfully realistic entity around whom the other rulers on the island silently rally in order to maintain a social balance. They abhor him but desperately desire to possess at the same time. On a narrower scale, the oppression of the underdog is obvious in the undesirable Caliban and his relationship to Prospero, Miranda, Ariel and Ferdinand. "
Tags: character, play, opression, monster, Prospero, Ferdinand, Miranda
Abstract The actions of Prospero in relation to his two servants, Ariel and Caliban, very much contradict his motivations and goals throughout the play, "The Tempest," by William Shakespeare. The paper shows that, while Prospero is trying to fight injustice and restore his own life, he is, in a sense, stealing the power and lives of his servants.
From the Paper "In Shakespeare's The Tempest, one of the main characters in the play, Prospero, has been exiled to an island. While living there he encounters two inhabitants of the island and makes them his servants. Caliban, one of Prospero's servants, has lived his whole life on the island after being left there by sailors with his mother, Sycorax. The other servant is Ariel, a mischievous spirit who Prospero found trapped in tree by a spell cast many years ago by Sycorax. The relationships between Prospero and his two servants are very different, although he maintains his control over both of them through his use of words. Prospero promises Ariel his freedom after he is done serving Prospero's desires, but Caliban is treated very differently. He is looked down upon and treated cruelly with no promise of ever being free. Unlike Ariel, Caliban is not content to serve Prospero and attempts to remove him of his power in order to restore his own life and rule over the island, but in his attempt to do so he offers to become a servant of Stephano. Throughout the play Prospero is attempting to fight the injustice of losing his power as Duke of Milan, but the way he treats his servants and steals their power is unjust."
Abstract In discussing Rand's philosophy that selfishness is a virtue, this paper discusses five essays that are the most crucial in explaining the concepts that Rand introduces in his book, "The Virtue of Selfishness". The discussion is followed by an analysis of the author's claims and premises regarding the topic. The paper assesses each premise or concept introduced in the context of the present outlook of human society towards selfishness and humankind's rationalization and individualization.
From the Paper "Ayn Rand's collection of essays in the book "The Virtue of Selfishness" provides insightful thoughts about the emergence of rationalization and individualism within the individual. The author discusses how the dawn of humankind had already seen the emergence of individualism and rationalization. It is only in the process of being nurtured by the social environment that the individual learns how to detest, even consider evil, the "virtue" of selfishness."
An analysis of the objections to Richard Dawkins' suggestions about how to approach the study of biology, as presented in his book, "The Selfish Gene."
Abstract This paper discusses the arguments presented by Richard Dawkins in "The Selfish Gene," for a challenging new approach to the study of biology and evolution. The paper suggests that, upon examination, many of the objections to Dawkins' "The Selfish Gene" are based on misunderstandings or gross misrepresentations of Dawkins' original text. The paper discusses this interpretation.
From the Paper "Both ehtology and sociobiology consider the evolutionary advantages of certain behaviors. Ethology is specifically interested in studying animal behavior, though there is some overlap with psychology. Sociobiology, more broadly, argues that genes play a decisive role in the development of behaviors and that behaviors must be considered in terms of the evolutionary advantage that they offer individuals and species (Hergenhahn, 2005: pp. 559-565). Sociobiology in particular can be seen as the primary intelletual influence, or ally, for Dawkins in The Selfish Gene. Dawkins, too, argues that behavior must be considered in terms of its evolutionary advantage, paying particular attention to altruism and selfishness. His unique contribution to this field of study is his focus on individual genes as the most relevant building blocks of evolution and natural selection. It is not, by his characterization that people are animals that just happen to be made up of genes, but rather that genes just happened to organize themselves into people because this increased their chances for long-term survival."
Abstract This paper reviews the the Darwinian theory of evolution present in the books "The Selfish Gene" by Richard Dawkins and "Savage Inequalities" by Jonathan Kozol. The author critiques Richard Dawkins' suggestion of a 'selfish gene' in his book, in which he takes the complex science of genetics and uses it to explain sociological phenomenon. The author argues that Dawkins, does not advocate the idea that evolution is equatable with morality instead, he divorces evolution from morality to present his theory of how evolution shapes sociology. The author also discusses Jonathan Kozol's concerns about the moral and political implications of Social Darwinism and critiques that, although Kozol does a good job with describing the problems of social inequalities, he hardly addresses educational reforms.
From the Paper "Research reveals that meaningful educational reform is going to require an overarching change in the social structure value memes. First, society is going to have to understand that all children are equal and deserve equal educational opportunities. It would be easy to suggest that society should view all humans as equal, but that is an impossible goal. Adults recognize that not all human beings are equal. Through life circumstances, by the time people enter into adult life, they do have differences in potential. Furthermore, by adulthood, differences in choices have frequently furthered the gap in potential. To pretend that those differences do not exist is to try to establish a meme that will not take root because it is contradicted by the daily life experiences of members of both the dominant the subordinate social class."
Tags: sociobiology, genetics, theory of evolution, behaviorism
Abstract The paper reviews a game which was performed to determine what affects on selfishness were seen if some given probabilities were known. The paper explains that all the outcomes deal with a dollar amount which can be paid out and will be significantly changed if certain unknowns become known in the beginning of each section, which is determined by three separate theories.
From the Paper "The issues of social dilemmas can often be so complex that many of us fail to realize that we are even in a dilemma at all until we are a victim or a participant in such a dilemma. However, the other side of the spectrum is that we participate in social dilemmas due to a very basic instinct and that is survival (Kangas 476). Of course we always have the need and desire to do the right thing but do we weight the costs appropriately. For example, can we risk picking up a hitchhiker today as compared to years ago."
Abstract Describes puppets throughout history, from ancient Greeks to Native Americans to the present. Examines the variety of forms in different countries and the survival of puppetry throughout history.
From the Paper "Puppets come in all shapes and sizes and there are a variety of forms of puppetry. A general definition of a puppet is a "figure whose movements are controlled by another through strings, rods, or hand movements" (Copp, 20..."
Abstract This paper examines William Shakespeare's "The Tempest" and Aphra Behn's "Oroonoko" . In particular, it looks at the concepts of slavery and freedom as perceived in each story. It discusses how Caliban believes that Prospero, as a human man, has no right to control and dominate the island any more than the protagonists of "Oroonoko" have to be dominated as slaves. It looks at how Oroonoko shares with Caliban a royal status conferred by birth and how, unlike his fictional counterpart, he uses his justification of birth to win respect and dignity in the eyes of his people and even his enemies, despite the fact that his rebellion ultimately results in execution.
From the Paper "Caliban is so intoxicated, not only upon alcohol, but also because of the slave mentality?instituted by Prospero, a modern observer might say, or "natural" to a heathen savage, an Elizabethan audience might infer?that he calls the two men master. All while he cries out in celebration for freedom, his cries are undercut by his needless, slave-like abasement before Stephano and Trinculo, who take advantage of him at every turn. Although Caliban makes a convincing argument for his rebellion, given his lineage and previous treatment, and current imprisonment, his easily abased and credulous character and immoral sexual conduct, to say nothing of his intoxication, undercuts the rational nature of his claims."
Abstract This paper examines how "The Tempest" is, perhaps, Shakespeare's most universally appropriate play in that its multicultural and colonial themes have attracted substantial study from all over the world and its characters have been employed as models for both further literary work. In particular it discusses how Caliban is, without question, a slave and how enslavement is a theme that pervades the play as a whole. It investigates this theme, not only in relation to Caliban, but also to the spirit Ariel and, to some extent, Prospero's daughter Miranda.
From the Paper "It would not be insensible to argue that any audience of The Tempest finds itself subject to Prospero's rule. Knowledge of all action previous to the events which take place on stage is presented in the most part through Prospero. Indeed, all of the other characters, once upon the island, are only able to perform what is permitted them by Prospero. Caliban enters on his command, Ariel begins the play in creating a storm at his order, and the passengers of the King's ship are lured into neat groups around the island in preparation for his plan for the recovery of his Dukedom. Most significantly, however, is the position of Prospero's daughter, Miranda. She has lived on the island for nearly all of her cognizant life, taking all of her knowledge of human society from her father."
Abstract This paper gives detailed information about the theatrical aspects of wayang kulit, including religious and cultural background of the plays, and discusses the construction of the puppets and the theatre in the context of traditional Indonesian life.
Abstract This paper discusses how political theatre in the 1960s, for all that it bucked convention and challenged the mores of society, was also deeply concerned with creating mythologies and moralities that would be comprehensible both within the scope of history and of the moment. It looks at how this can be seen as especially true in the work of Luis Valdez and the "El Treato Campesino" and Schumann's "Bread and Puppet Theater".
From the Paper "The 1960s (beginning in the mid 1950s) were a time of massive decolonization of third world nations and of the broader human spirit. ?"The 60s was, then, the period in which all these 'natives' became human beings, and this internally as well as externally... 'minorities,' marginals, and women -- fully as much as its external subjects." (Jameson, 181) Radical theater at this time was much concerned with the creation of new identities and the just-emerging voices of minorities that had never been heard before in the mainstream discourse. It is against this background which one may set Luis Valdez's radical political Chicano theater. "The 60s also saw the emergence of a new historical subjects, or at least groups that constituted themselves as subjects on the basis, for instance, of sex and race. Having formed social movements, these subjects contested institutional spaces but also declared a sort of counter-hegemony to the dominant social and ideological power." "
