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Justice and vengeance in the tempest
Sexual evidence of revenge in the the tempest
Justice and vengeance in the tempest
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Art vs. Nature in The Tempest
The debate between Art and Nature in The Tempest is very much based on the Renaissance debate, on whether “civilized man” or the "natural man" was superior. The advocates of “civilized man” presenting the "natural man" as being savage, intemperate and brutal in contrast to the nobility, self-control and high-mindedness of the “civilized man”. The advocates of "natural man" presenting him as what Rousseau was later to term the "noble savage" and the civilized man as being corrupt, affected, merely more adept at cloaking his vices, which were at best more refined, but nevertheless hardly a reason for pretensions to moral high ground. Montaigne, in his famous apologia for the "natural man", observes that it may be arguably more barbaric to "mangle by tortures and torments a body full of lively sense [...] under pretence of pietie and religion" than "to roast and eat him after he is dead".
Shakespeare does not go to either extreme in The Tempest. The "natural man" (i.e. Caliban) is savage, intemperate and brutal, incapable of higher reasoning and lacking the innate intelligence for nurture to "stick" (as Prospero says in frustration) responding only to something that in effect could be considered, not inaccurately, as what would in modern terms be called a form of Pavlovian conditioning. While his portrayal is not totally unsympathetic (cf. the touching passage in Act III Scene II where he speaks of his "cr [ying] to dream again", it can also be argued that Prospero's alighting on the island, installing himself as ruler, and consequently -- albeit not unjustifiably -- depriving Caliban of his rights and liberty is per se somewhat questionable, depending on how one views colon...
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...terms with Nature (hence Prospero's "this thing of darkness I / Acknowledge mine"); for while Caliban's limitations are apparent, his wish to improve himself is promising, and his new relationship with Prospero seems to be more stable and more reassuring than the resentment-filled and extremely uneasy jailor-prisoner / master-slave relationship shown earlier.
Works Cited and Consulted
Davidson, Frank. “The Tempest: An Interpretation.” In The Tempest: A Casebook. Ed. D.J. Palmer. London: Macmillan & Co. Ltd., 1968. 225.
Kermode, Frank. Introduction. The Tempest. By William Shakespeare. Cambridge: Harvard UP, 1958. xlii.
Solomon, Andrew. “A Reading of the Tempest.” In Shakespeare’s Late Plays. Ed. Richard C. Tobias and Paul G. Zolbrod. Athens: Ohio UP, 1974. 232.
Shakespeare, William. The Tempest. Ed. Frank Kermode. Cambridge: Harvard UP, 1958.
Giovanni Pico’s Oration on the Dignity of Man promotes the perfectibility of mankind. In the oration, Pico presents a specific, sequential program for man’s spiritual ascendancy to godly flawlessness. And yet Pico’s program is dealt a literary blow in William Shakespeare’s The Tempest when the protagonist, learned mage Prospero, is unable to complete Pico’s curriculum and quits his magic entirely. The divergent view of man expressed in these two works exists on many levels, but I believe the essential tension is revealed in the role of a single character in The Tempest: the misshapen manservant Caliban.
Resch, Robert. Utopia, Dystopia, and the Middle Class In George Orwell’s Nineteen Eighty-Four. Duke University Press. central.wmrhsd.org. Web. 7 May. 2014
The first incident of sexual harassment in the workplace was allegedly in Mumbai, India. Where at a rally about women dealing with oppression it was brought to public attention that women-nurses, air hostesses, and PhD scholars were facing sexual harassment at work. Harassment has tormented the world for centuries. Why should the workplace be any different? Sexual harassment seems to be an issue that still occurs in the workforce today. Managers are addressing and combating modern sexual harassment and workplace violence, however instances still
In today’s society, the pink ribbon has become one of the most widely recognized symbols of breast cancer research. “It can symbolize strength, hope, responsibility, empathy, and permission to discuss breast cancer,” (Harvey, 1) but that’s not all the pink ribbon campaign does. The pink ribbon is one of the most widely-used tools of cause-related marketing, with pink items available of almost anything. As such in addition to the tenfold increase in awareness surrounding breast cancer within our society, many major corporations have increased their bottom-lines as a result of the breast cancer industry. In order to truly understand “pink culture” (Sulik, XIV) we must examine the advanced levels of marketing strategies that have worked to develop this campaign and the effects that they not only have on breast cancer research but also the effects they hold on a social and corporate level as well. Therefore, this essay will provide an outline of how the breast cancer research movement utilizes the pink ribbon campaign paired with other promotional devices including cause-related marketing and mass media consolidation to saturate the market with their mandate. In addition to this, this essay will also provide an analysis of both the positive and negative reactions the campaign has garnered within the public eye, and the effects it has had on breast cancer awareness and research as a whole.
Spencer, Roy, PhD RSS. "Books." Roy Spencer PhD RSS. Roy Spencer PhD RSS, 2014. Web. 15 April 2014. .
Shakespeare's play, The Tempest tells the story of a father, Prospero, who must let go of his daughter; who brings his enemies under his power only to release them; and who in turn finally relinquishes his sway over his world - including his power over nature itself. The Tempest contains elements ripe for tragedy: Prospero is a controlling figure bent on taking revenge for the wrongs done to him, and in his fury he has the potential to destroy not only his enemies, but his own humanity and his daughter's future.
In the play, The Tempest by William Shakespeare, Prospero took control of Caliban and made him his servant. Prospero was able to do this because he viewed Caliban as an uncivilized being; Caliban was portrayed as a beast. Thus, Prospero was able to assume power over Caliban. It can be seen from Prospero’s speech that he thinks that Caliban is inferior to him when Prosper says, “I have used thee, Filth as thou art, with human care […]” (1.2.348-349). Prospero tries to justify enslaving Caliban, but all he really does is place Caliban into a category of bestial and uncivilized and as a result enslaves him.
Wepworth, Adam. "Animal Research: The Ethics of Animal Experimentation." (n.d.): n. pag. 16 July 2010. Web. 12 Nov. 2013.
Harrison K, Marske A. (2005) Am J public health. Nutritional content of foods advertised during the television programmes children watch most. doi: 95(9): 1568-1574
Nesbit, E.. "The Tempest." The Best of Shakespeare: Retellings of 10 Classic Plays. Oxford University Press, 1997. n.pag. eLibrary. Web.
Prospero’s Abuse of Power in The Tempest. In William Shakespeare's The Tempest, Prospero lives with his daughter Miranda on a deserted island. On the surface, he appears to be a benevolent leader doing his best to protect and care for the inhabitants of the island, especially for Miranda. On closer inspection, however, Prospero plays God, controlling and creating each individual to fit the mold he desires.
In this brief examination of the Tempest, it becomes obvious that the play is a mirror image of the progression of events in the Bible. This use of Christian elements in the play is not obvious upon first reading the play, but becomes undeniable as the action progresses. The motif of Christianity in other Shakespearean works is not as structured and in-depth as the motif found in the Tempest.
Novak, Maximillian, and George R. Guffey, eds. The Tempest, or The Enchanted Island. Works of John Dryden vol. X. Berkeley: U of California P, 1970. 1-103.
According to David Raven’s article, scientists believe that war games such as Call of Duty, Destiny and Halo boost brain power more than brain training games because the quick reactions used in the game help improve problem solving techniques. In his article, Dr Shawn Green, a scientist, states that action games that feature quick moving targets that come in and out of view have positive cognitive impacts. He also states that action games have been associated with improving attention skills, brain processing and cognitive functions. As stated by the Statesman (AsiaNet), research has shown that playing video games may strengthen a range of cognitive skills such as “spatial navigation, reasoning, memory and perception” (“Shooter video games”). In the article, it is also stated that “A 2013 meta-analysis found that playing shooter video games improved a player’s capacity to think about objects in three dimensions, just as well as academic courses” which essentially puts video games and academic learning in the same direction. Ultimately, the nature of video games has always involved learning, although with research, it leads us to believe further that video games have a significant impact on our cognitive
In Shakespeare’s play The Tempest, there are two characters who appear to be polar opposites. The characters of Caliban and Ariel both play very important roles in the play. The term caliban is defined as “a brutish or brutalized man,” and the term ariel is defined as “a spirit of the air” (Dictionary). The definitions of these two characters names even show the huge difference in the two characters before readers or viewers even get to know the characters. There are also differences in how the two characters feel about the self-proclaimed king of the island, Prospero. However, regardless of their many differences the one thing that they do have in common is the fact that they are both oppressed by Prospero who has deemed himself king of the island and seek freedom.