In Shakespeare’s Tempest, Caliban says to Miranda and Prospero: "...you taught me language, and my profit on’t Is, I know how to curse. " With this statement, he gives voice to an issue that lies at the centre of post-colonial studies. Can Caliban own Prospero’s language? Can he use it to do more than curse? Caliban’s Voice examines the ways in which post-colonial literatures have transformed English to redefine what we understand to be ‘English Literature’. It investigates the importance of language learning in the imperial mission, the function of language in ideas of race and place, the link between language and identity, the move from orature to literature and the significance of translation. By demonstrating the dialogue that occurs between writers and readers in literature, Bill Ashcroft argues that cultural identity is not locked up in language, but that language, even a dominant colonial language, can be transformed to convey the realities of many different cultures. Using the figure of Caliban, Ashcroft weaves a consistent and resonant thread through his discussion of the post-colonial experience of life in the English language, and the power of its transformation into new and creative forms.
... Caliban enters unobtrusively into this chaos, singing 'Friends' on G4 for twelve beats before rising to A4 at the climactic moment when the orchestra erupts in a luxuriant A major, shown in Online Ex. 4.2 in reduction. (Caliban's vocal ...
Reinaldo Arenas, Caliban, and Postcolonial Discourse
Paula Kamenisch, 'Brecht's Coriolan: The Tragedy of Rome', Communications from the International Brecht Society, ... Antony Tatlow, Shakespeare, Brecht, and the Intercultural Sign (Durham: Duke University Press, 2001), 184.
22 John Rae, Report to the Secretary of the Admiralty (29 July 1854), in The Arctic Journals of John Rae, ed. Ken McGoogan (Victoria, British Columbia: Touchwood, 2012): 241; John Rae, “Sir John Franklin and his Crews,” Full Report to ...
Caliban to King Kong, Edgar Allan Poe’s stories, the films of David Lynch, Beauty and the Beast, The Wizard of Oz, E.T., Richard Yates’s domestic realism, B-horror movies, and the fairy tales of Angela Carter—how such a short novel ...
In Colorblind Shakespeare: New Perspectives on Race and Performance, ed. Ayanna Thompson. New York: Routledge, 2006. 69–88. Leonard, Kendra Preston. “The Sounds of India in Supple's Twelfth Night.” Bollywood Shakespeares, eds.
Discovering the beautiful Miranda, the daughter of Prospero, Caliban the Beast has a single evening in which to tell her the most compelling stories she has ever heard.
... Caliban's dialectical interface. They trap The Tempest's protagonists in a closed agonistic circuit. Prospero and ... voice reverberates in social realist text aimed at speaking back to the Center. In late modernity's accelerated exchanges ...
... Narrative and the Nature of Worldview in the Clare Savage Novels of Michelle Cliff. New York: Peter Lang Publishing. Gikandi, Simon. 1992. Writing in a Limbo: Modernism and Caribbean Literature. Ithaca: Cornell UP. —. 1996. Maps of ...
Charles LaPorte, Victorian Poets and the Changing Bible (Charlottesville: University of Virginia Press, 2011), 108–109. Matthew Campbell, “Letting the Past be Past: The English Poet and the Irish Poem,” Victorian Literature and Culture ...